wuf/AW;t  /^  rrAOY  T^00  ' 

j . . l ^T%£ros  gO60l6- 1 


* ISPAHAN  ( XVI  CENTURY) 


1 3 AL MATE  and  lotas  forms,  cload  bands , 
connecting  vines , a/*<i  conventionalized 
flowers  balancing  each  other  appear , m //us 

Dyigjfe^ci/by/.th  ej/flter/n  et ^ah  i ve  the 

typical  style  «jh  2016  the  weavers  of  the 
sixteenth  century . The  field  is  of  deep  rose 
color . The  ground  of  the  wide  border  is 
of  deep  moss-green  and  the  design  is  laid 
in  mellow  tones  of  blue , green , and  yellow . 
which  are  emphasized,  by  the  introduction  of 
Ispahan  pink  in  many  of  the  floral  forms 
The  rag  is  of  the  Persian  Portuguese  va- 
riety, woven  in  Persia  for  some  wealthy 
Spanish  or  Portuguese  trader . 


https://archive.org/details/tiffanystudiosco00tiff_1 


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This  is  No.  fsL 3 of  an  edition  of  5oo  copies. 
Printed  by  The  University  Press,  Cambridge, 
U.S.A.,  for  the  Tiffany  Studios. 

Presented  to  A ^ 


Series 

Oris^lJ^gs 


}kl  50  ?55  MffD)60>f 

tizvc/  York 


Copyright,  1006 
By  Tiffany  Studios 


THE  UNIVERSITY  PRESS,  CAMBRIDGE,  U.  S.  A. 


GETTY  CENTER 
LIBRARY 


PREFACE 

THE  Tiffany  Studios  collection  of 
antique  Oriental  rugs  has  been  carefully 
and  gradually  made,  and  has  become  one 
of  the  most  notable  collections  of  antique 
rugs  now  to  be  seen  in  America.  With 
intent  to  furnish  concise  information  re- 
garding it,  the  following  catalogue  has 
been  compiled. 

An  attempt  has  been  made  to  show  in 
the  collection,  as  a whole,  the  sequence  of 
the  art  of  the  weaver  from  the  fifteenth 
century  to  the  time  when  Oriental  rugs 
were  first  produced  commercially,  and  in 
individual  specimens  the  types  that  have 
inspired  and  governed  weavers  through 
the  years.  Each  rug  has  been  critically 
analyzed  and  stands  itself  as  surest  evi- 
dence of  the  claims  made  for  it.  The 
consensus  of  the  trained  opinions  of  rec- 
ognized modern  authorities  regarding  all 
historical  and  technical  facts  concerning  the 
subject,  together  with  our  own  independ- 


[viii] 

ent  conclusions  based  on  original  research, 
are  presented  to  students  in  the  following 
descriptions  of  specimens. 

The  classification  has  been  made  as 
simple  as  possible,  each  rug  being  at- 
tributed broadly  to  the  country  in  which 
it  was  produced.  When,  however,  im- 
portant tribal  distinctions  have  presented 
themselves  with  sufficient  force  to  de- 
mand independent  recognition,  the  spe- 
cial province,  town,  or  community  has 
been  designated. 

In  addition  to  these  broad  geographi- 
cal divisions  certain  of  the  historical  classi- 
fications have  been  accepted  that  obtain 
throughout  the  entire  realm  of  art;  the 
great  monarchs  of  history  who  have  espe- 
cially patronized  and  developed  the  arts 
representing  a classification  in  themselves, 
which  must  always  be  carefully  considered; 
these  various  points  of  view  throwing 
light  on  each  other,  all  being  necessary 
in  the  illumination  of  the  subject  as  a 
whole. 


PERSIAN  PORTUGUESE 


RUGS 


PERSIAN  PORTUGUESE  RUGS 


HEREVER  the  rugs  known  as 


Persian  Portuguese  may  have  been  woven, 
and  whoever  were  the  weavers,  the  name 
itself  applies  to  a well-known  style,  easily 
recognized,  mirrored  in  which  are  the 
changing  conditions  that  marked  the  or- 
nament of  Persia  during  the  sixteenth  and 
seventeenth  centuries.  The  designs  of 
Persia  in  the  sixteenth  century  were  greatly 
influenced  by  Chinese  ornament,  which  fil- 
tered into  Persia  through  India,  and  which 
Persian  weavers  copied  without  compre- 
hension of  any  symbolic  import. 

From  these  Chino-Persian  designs,  in 
later  centuries  definite  styles  evolved. 
The  name  “Persian  Portuguese”  is  given 
to  rugs  made  by  expert  Persian  workmen 
on  Portuguese  looms,  and  also  to  rugs 
made  in  the  sixteenth  and  seventeenth 
centuries  in  Persia  for  wealthy  Portu- 
guese nabobs.  These  are  distinguished 


The 

Tiffany 

Studios 

Collection 


[4] 

from  others  by  differences  in  weave  and 
design.  The  combination  of  red  field 
and  deep  green  border  was  most  popular, 
and  the  lavish  use  of  leaf  and  flower  forms, 
held  together  by  vines  and  tendrils,  marked 
with  pronounced  style  the  rugs  of  the  early 
sixteenth  century. 

The  fullest  sort  of  palette  has  been 
used  by  the  artist  weaver  of  these  rugs, 
which  were  many  of  them,  without  doubt, 
woven  on  royal  looms  in  that  most  glori- 
ous of  centuries  which  held  the  years  of 
activity  of  the  two  mighty  monarchs, — 
Akbar  in  India  (i558-i6o5)  and  Shah 
Abbass  in  Persia  (i585-i628). 


PERSIAN  PORTUGUESE 
XVI  CENTURY 


RUG 


As  the  various  shades  of  red  in  old  Chinese  porce- 
lains vary,  each,  whether  it  be  peach-blow,  chicken’s 
blood,  sang  de  boeuf,  or  any  other  variety,  having 
a glory  all  its  own,  so  in  the  wools  used  by  the 
weavers  of  the  sixteenth  century  are  to  be  found 
tones  many  and  various,  from  deep  maroon  to 


[5] 

light  rose  pink.  The  ground  color  of  this  rug  is 
that  known  as  “dregs  of  wine,”  and  only  by  con- 
trast with  the  claret,  garnet,  and  maroon  shades  in 
other  rugs  can  the  virility  and  strength  of  this  superb 
color  be  thoroughly  appreciated.  In  this  specimen 
the  balance  of  the  design  has  been  most  perfectly  ob- 
served and  follows  a well  thought  out  plan . Rosette, 
palmate,  and  cloud  forms  fill  the  field,  leaving  no 
portion  without  its  appropriate  ornamentation. 

The  colors  blue,  green,  yellow,  and  red,  in  vari- 
ous tones  and  half  tones,  ordinarily  found  in  rugs 
of  this  style,  have  been  enriched  in  this  rug  by  an 
addition  of  a dark  brown  and  a peculiar  blue,  so 
that  the  full  octave  is  completed  and  there  remains 
little  for  the  colorist  to  demand.  In  the  enlarge- 
ment of  the  design  the  utmost  liberty  has  been  taken 
with  it,  and  it  has  been  elaborated  to  its  fullest 
extent.  Independent  rosettes  quite  unrelated  to 
the  general  scheme  are  scattered  over  the  field,  as 
though  placed  there  simply  to  cover  space.  It  is 
not  possible  to  centralize  the  design,  as  its  com- 
ponent parts  make  a well-balanced  repeat,  which 
entirely  fills  the  field. 

In  the  broad  border,  on  either  side  of  which  are 
narrow  stripes  bearing  old  Iran  designs,  highly 
conventionalized  palmate  forms  are  interrupted  by 
lotus  rosettes,  which  with  a rather  angular  but  deli- 
cate tracery  are  well  shown  on  the  bluish  green 
ground.  [No.  3626 — 18.7  x 7.8 ] 


Notable 

Antique 

Oriental 

Rugs 


The 

Tiffany 

Studios 

Collection 


[6] 

PERSIAN  PORTUGUESE  RUG 
XVI  CENTURY 

In  this  rug  have  been  preserved  the  six  colors  often 
sought  but  seldom  found  in  sixteenth  century  rugs 
obtainable  at  the  present  time ; namely : light  and 
dark  green,  light  and  dark  blue,  yellow,  and  red. 
The  red  is  of  the  indescribable  shade  highly  prized 
by  connoisseurs. 

In  but  few  of  the  worn  places  has  any  dye  been 
applied  to  the  warp  and  woof,  so  that  an  estimate 
may  be  formed  of  the  color  values  of  the  rug  itself. 
Great  simplicity  marks  the  arrangement  of  the 
flower,  leaf,  and  cloud  forms.  Four  rosettes  with 
outer  whorls  of  dark  blue  are  placed  on  the  field 
alternately  with  green  and  yellow  palmates,  each 
of  the  latter  being  elaborated  with  the  cloud  band. 
These  forms  are  connected  by  delicate  tracery, 
terminating  in  Persian  flower  motifs  on  either  side 
of  the  upper  and  lower  palmate. 

The  color  of  the  tracery  over  the  field  is  green 
outlined  with  yellow,  instead  of  white  or  light  blue 
tendrils,  as  are  more  often  found.  It  is  important 
to  note  the  treatment  of  the  centres,  when  endeavor- 
ing to  trace  the  age  of  specimens  of  sixteenth  cen- 
tury weaving.  No  attempt  has  been  made  in  this 
rug  to  provide  a central  ornament.  A simple  dia- 
mond form  is  made  by  interlacing  of  leaves  and 


[7]. 

flowers.  In  the  more  studied  designs  which  ap-  Notable 
peared  in  large  rugs  made  later  in  the  century  there  Antique 
was  frequently  a balancing  of  cloud  and  floral  motifs  Oriental 
in  attempt  to  centralize  the  design,  which  somewhat  ^ a9s 
distorted  the  original  plan. 

In  the  border  the  yellow  tracery,  on  a moss- 
green  ground,  connects  masses  of  small  leaves  and 
flowers  which  alternate  with  the  twenty  large  pal- 
mate forms  that  almost  invariably  surround  rugs  of 
this  style  and  size.  (Note  especially  the  primitive  sawtooth 
inner  border  stripe.)  [iVo.  3628—6.8  x 4.6] 


PERSIAN  PORTUGUESE  RUG 
XVI  CENTURY 

T HE  color  in  the  field  of  this  rug  has  been  softened 
by  years  of  exposure  to  a deep  rose  pink,  and  time 
has  mellowed  the  colors  used  in  the  design  so  that 
they  mingle  with  the  background  most  harmoni- 
ously. The  colors  which  predominate  are  the  same 
as  in  No.  3628,  making  an  unusual  pair  of  the  two 
rugs  in  combination. 

The  design  shows  a studied  effort  to  balance  the 
cloud  and  palmate  forms  in  the  centre  of  the  rug, 
and  in  the  border  the  floral  designs  are  placed  upon 
the  typical  green  ground.  [No.  3632  — 6.4  x 4.5] 


[8] 


The 

Tiffany 

Studios 

Collection 


PERSIAN  PORTUGUESE  RUG 
XVI  CENTURY 

In  this  rug  the  cloud  hand  is  more  apparent  in  the 
design  than  in  No.  8628,  appearing  in  different 
colors  interwoven  with  profile  and  sectional  flower 
forms.  The  introduction  of  six  white  buds,  which 
with  cloud  bands  describe  a circle  around  the  cen- 
tral palmate  forms  in  the  field,  varies  the  scheme  of 
design  sufficiently  to  make  it  utterly  unlike  others  of 
the  same  general  class. 

The  color  scheme  is  rich  and  strong,  and  the 
tracing  in  light  color  over  the  field  is  most  delicate 
and  refined.  [No.  3612  — 6.8  x 4.4] 


ISPAHAN  RUG  ( FRAGMENT ) 


The 


design 


in 


this  rug  has  lost  the  flowing 
and  undulating  vine  effect  common  in  so-called 
“Persian  Portuguese”  specimens,  and  has  been 
blocked  off  in  angular  fashion  by  the  formal  placing 
of  the  stems  throughout  the  field  in  so  conventional 
a way  as  to  exhibit  individual  interpretation  of  what 
had  become  at  the  period  an  established  style. 


[9] 

Upon  a wine-red  ground  appear  the  customary  Notable 
palmate  and  cloud  forms,  with  the  introduction  of  Antique 
the  pomegranate  and  whorl  rosettes  in  the  usual  Oriental 
colors.  [No.  3627  — 6.5  x 5.9]  Ru9s 


ISPAHAN  — XVII  CENTURY 

-AlS  the  pattern  used  in  Persian  Portuguese  rugs 
developed  it  lost  certain  characteristics  as  it  was 
variously  interpreted,  and  settled  into  different 
designs,  which  have  been  perpetuated  by  weavers 
all  over  Persia. 

Several  variants  of  it  are  found  in  old  Djusha- 
ghan  rugs,  in  which  the  cloud  band  loses  itself  in 
rectangular  lines,  and  finally  merely  serves  to 
bound  compartments  within  which  tribal  motifs 
find  expression. 

In  this  rug  we  find  a seventeenth  century 
rendering  of  a design  which  originated  in  the 
sixteenth  century.  [No.  3633 — 13.3x6.3 ] 


ISPAHAN  RUG 

ThE  fire  color  greatly  prized  by  Flemish  artists 
is  found  in  these  border  strips  of  seventeenth 
century  carpet  in  varying  shades  of  burnt  orange. 


The 

Tiffany 

Studios 

Collection 


[10] 

The  ground  color  changing  from  green  to  blue, 
and  the  tracery  of  crimson  alternating  with  green, 
add  charm  and  interest  to  these  fragments. 

[No.  3636—  12x1.3] 
[No.  3637  — 12x1.3} 


PERSIAN  RUG  — XVI  CENTURY 


Upon  a mellow  ruby  red  ground  are  spread 
palmate  and  floral  forms  of  an  East  Indian  charac- 
ter, in  colors  rich  and  soft. 

The  border  is  of  deep  sky-blue,  and  carries  at 
intervals,  on  a somewhat  angular  vine  tracery,  small 
rosettes  with  balancing  lance  leaves  on  either  side, 
which  alternate  with  large  palmate  forms. 

[No.  3610—8.4x6.0 ] 


ISPAHAN  RUG 

Field  of  rich  wine  color  with  conventional 
flowers,  vines,  and  cloud  bands,  preserving  a well- 
balanced  and  harmonious  design. 

The  rich  green  border  is  highly  ornate,  and  the 
forms  which  ornament  it  both  in  their  profile  and 


- '-M 


ISPAHAN  RUG 
No.  3616]  [8.7  x 4. 7 

Illustration  shows  % length 


. 

sectional  arrangement,  as  well  as  in  their  color  and 
massing,  indicate  a late  sixteenth  century  handling 
of  the  designs  of  the  period. 

[No.3616  — 8.7  x4.7] 


ANTIQUE  D J U S HA GHAN 
XVII  CENTURY 

T HE  color  scheme  in  this  rug  shows  a ground  of 
pinkish  red  which  bears  the  same  relation  to  other 
textile  reds  that  ‘ ‘ peach-blow  ’ ’ does  to  other  reds  in 
porcelain . 

Blue,  both  dark  and  light,  is  conservatively 
handled,  while  yellow,  brown,  fawn,  and  slight 
touches  of  green  are  found  in  the  principal  designs, 
and  the  occasional  use  of  an  exquisite  pink  completes 
the  scale  which  began  with  the  same  color  in  deeper 
tone. 

Balancing  each  other  at  the  sides  and  ends  of 
the  field  are  forms  which  in  turn  repeat  in  outline 
one-half  of  the  central  medallion,  while  small  corner 
spaces  are  marked  off  by  the  seemingly  careless 
handling  of  the  floral  form,  which  is  used  as  chief 
motif  of  ornament  throughout  the  rug.  So  skil- 
fully is  this  form  treated  that  it  is  almost  impossible 
to  analyze  the  design.  In  one  part  of  the  rug  it 
appears  to  be  an  independent  leaf,  when  suddenly 


Notable 

Antique 

Oriental 

Rugs 


The 

Tiffany 

Studios 

Collection 


closer  analysis  reveals  it  as  an  encircling  form 
making  a flower  in  itself. 

Again,  this  motif  is  never  used  twice  alike  and 
no  studied  order  is  observed.  Four  floral  diamond 
forms  break  the  main  design  and  give  it  symmetri- 
cal balance.  Above  one  of  these,  at  the  right  hand 
upper  part  of  the  rug,  the  yellow  which  is  elsewhere 
somewhat  faded  shows  in  almost  untouched  perfec- 
tion in  the  long  leaf  form  which  extends  toward  the 
border  of  the  rug. 

Flower  whorls,  lance  leaves,  buds,  and  many 
petalled  blossoms  are  scattered  between  the  larger 
designs,  giving  the  flower  strewn  quality  to  the  carpet 
which  was  so  highly  prized  in  the  days  of  good  Shah 
Abbass  and  later  monarchs  who  were  patrons  of 
the  arts. 

At  the  upper  end  of  the  carpet  loops  are  tied  in 
native  fashion  to  serve  as  hangers.  There  has  been 
comparatively  little  repairing  done  in  the  upper 
border,  so  that  in  its  velvety  beauty  it  has  served 
those  as  standard  who  have  endeavored  to  keep  the 
carpet  in  repair.  In  contrast  to  this  the  lower  border 
presents  a most  interesting  study,  as  it  is  an  absolute 
maze  of  repairing,  tender  and  loving  service  having 
been  long  ago  rendered,  in  most  artistic  fashion,  by 
those  who  have  mended  for  preservation  and  not  in 
order  to  render  the  carpet  salable.  Each  design 
has  been  carefully  restored  and  there  is  almost  as 
great  art  work  shown  in  some  of  the  repairs  as  in 


[i3] 

the  original  carpet,  and  while  they  help  to  prove 
the  age  of  the  rug,  they  take  in  no  way  from  its 
artistic  merit. 

In  its  entirety  this  rug  suggests  Persia  as  re- 
trospectively seen  through  the  mist  of  years.  And 
as  ‘ 4 from  the  beauty  of  the  rose  the  nightingale 
learned  speech,’’  so  after  a patient  contemplation  of 
beauty  the  weaver  was  forced  to  express  himself, 
and  roseate  hues  have  settled  upon  the  surface  of 
this  product  of  an  ancient  loom  of  Iran,  which  are 
wrought  by  time,  and  time  alone. 

[No.  6376  — 11.2  x 6.0] 


PERSIAN  RUG  EARLY  XVI  CENTURY 

In  this  rug  the  reasons  are  most  plainly  evident 
for  classing  Herat  rugs  by  themselves,  as  they  were 
in  the  early  centuries  of  royal  patronage  in  rug 
weaving  quite  unlike  rugs  made  in  other  parts  of 
Persia.  Both  in  weave  and  color  scheme  the  rugs 
of  Herat  testify  to  their  geographical  position.  Filled 
with  enthusiasm  for  things  Persian,  the  weavers 
employed  in  the  ancient  capital  of  Afghanistan 
bore  evidence  to  their  Turkoman  lineage  in  their 
handling  of  color  and  in  their  tendency  to  bound 
their  designs  by  either  diamond  or  octagonal  forms. 


Notable 

Antique 

Oriental 

Rugs 


The 

Tiffany 

Studios 

Collection 


The  motif  used  in  the  central  ornaments  within 
each  square  on  the  field  of  this  rug  is  found  in  later 
Herat  carpets,  outlining  the  principal  palmate  forms 
in  what  has  become  known  as  the  Herati  border,  the 
other  member  of  which  is  the  well-known  rosette 
between  two  lance  leaves,  this  latter  developing  in 
modern  carpets  into  the  so-called  fish  or  Herati 
design  used  by  Feraghan  weavers. 

The  main  border  stripe,  bound  by  two  narrow 
bands  in  which  the  floral  ornamentation  adheres  to 
Persian  tradition,  is  confessedly  East  Indian,  without 
any  of  the  exuberance  and  graceful  curves  found  in 
the  later  designs  of  the  rugs  of  Herat. 

[No.  3613— 6.8  x 4.10] 


ANTIQUE  PERSIAN  RUG 

Examination  with  a powerful  glass  of  the 

wool  of  which  this  rug  is  made  reveals  a quality 
that  is  recognizable  as  a seventeenth  century  south 
of  Persia  product. 

The  wool  of  Cashmere  alone  can  compete  with 
this,  and  there  is  in  the  two  products  a sufficient 
difference  in  the  filaments  to  make  it  possible  to 
distinguish  between  them. 


[!5] 

The  weaver  was  a nomad,  and  he  tied  with  an 
easily  made  knot  his  carefully  prepared  materials, 
using  wool  for  warp,  woof,  and  pile,  — wool  so  lus- 
trous that  no  silk  excels  it  in  beauty. 

A variant  of  the  Herati  lance-leaf  pattern  has 
been  used  with  spontaneity  and  freedom  in  the  de- 
sign that  covers  the  golden  yellow  field  with  shades 
of  red,  green,  blue,  and  violet.  Neither  time  nor 
wear  will  ever  subdue  these  wonderful  color  values, 
and  as  sometimes  one  priceless  gem  is  seen  to 
greater  advantage  with  nothing  of  lesser  value  near, 
so  this  rug  will,  in  appropriate  setting,  reign  supreme. 

[No.  6965—7.4x4.10] 


FERAGHAN 


A FERAGHAN  rug  of  great  beauty  and  interest, 
showing  in  the  broad  border  a Kirman  design 
which  has  for  centuries  adorned  the  state  carpets 
of  Southern  Persia.  It  is  most  unusual  to  find  it 
in  the  weavings  of  the  Feraghan  district. 

The  field  of  the  rug  is  blue,  upon  which  the 
Herati  design  in  soft,  harmonious  colors  is  carefully 
laid.  In  the  corners  flat  rosette  flower  forms  — 
pink,  violet,  blue,  and  red  — are  arranged  in  rows 
upon  a ground  that  changes  from  blue  to  green 
with  subtle  charm. 


Notable 

Antique 

Oriental 

Rugs 


[i6] 

The  Eight  borders  surround  the  field,  the  inner  one 
Tiffany  of  that  exquisite  Oriental  pink  which  is  the  despair 
Studios  Qf  fog  modern  colorist.  The  second  and  outer 
Collection  porc[ers  are  0f  Serebend  nature,  while  the  wide 
border  is  of  supreme  interest.  One  familiar  with 
old  Kirman  styles  before  any  European  influence 
had  altered  them  will  see  in  this  interpretation  of 
them  an  entire  lack  of  ability  on  the  part  of  the 
weaver  to  interpret  them,  and  in  this  very  fact  lies 
the  chief  charm  and  greatest  interest  in  this  old  rug. 
In  the  Kirman  design  which  this  copies,  conven- 
tionally drawn  birds  balance  each  other  on  either 
side  of  a basket  of  fruit,  and  between  these  are 
jars  or  vases  of  flatly  drawn  flowers,  without  any 
semblance  of  shading,  perspective,  or  naturalistic 
effect.  Even  later  on  in  the  evolution  of  the  design, 
when  flowers  were  less  formally  arranged,  the  birds 
still  appeared  in  the  Kirman  design.  It  is  interest- 
ing to  note  the  unfamiliarity  of  the  weaver  of  this 
fabric  with  the  design  he  has  employed  to  add  to 
this  rug  special  importance  and  significance. 

Along  the  lower  border  there  is  no  appearance 
of  birds.  For  a length  of  about  three  feet  along  the 
side  the  vases  are  placed  transversely  to  the  field, 
and  after  that  resume  their  upright  position. 

In  the  top  border  both  vase  and  bird  forms  are 
more  skilfully  handled  than  elsewhere,  showing 
that  a proper  realization  of  the  necessity  for  correct 
drawing  has  been  forced  upon  the  weaver. 


KHORASSAN 
No.  362 4]  [4 .11x3.6 


[i7] 

The  rug  is  not  only  beautiful,  but  holds  much 
of  human  interest  to  add  to  its  charm. 

[No.  3764—13x6.10 ] 


Notable 

Antique 

Oriental 

Rugs 


KHORASSAN 


Herati  pattern  outlined  in  rose  color  and  tan, 
on  a varied  green  field,  which  is  soft  in  tone  and  so 
shaded  as  to  give  an  elusive  quality  to  the  design. 
Palms  on  a deep  rich  blue  ground  are  set  in  the 
outer  border,  transversely  to  the  field  along  the 
sides,  and  at  both  top  and  bottom  of  the  rug. 

[No.  3624— 4.11x3.6] 


MOUSSOUL  FERAGHAN 

Many  borders  surround  a dark  blue  field  in 
which  the  design  is  laid  in  crisp  and  clear  though 
thoroughly  refined  colors. 

[No.  2993—9.10x5.5] 


KHORASSAN 


Branch  palms  in  soft  pink  and  dark  blue  are 
arranged  on  a sand  colored  background,  which 


[i8] 

The  suggest  the  primitive  Khorassan  method  of  making 
Tiffany  designs  by  placing  natural  flowers  upon  the  earth. 
Studios  The  vine  effect  in  main  border  stripe  is  some- 
Collection  times  used  in  the  field  of  antique  Khorassans. 

(See  No.  3566.)  [No.  5109 5.5  X 3] 

KHORASSAN 

A SERIES  of  Khorassan  borders,  consisting  of 
branch  palms  and  vines,  are  arranged  vertically 
upon  a gold  colored  field,  in  shades  of  blue  and 
rose.  [No.  3566 — 5.4  x 3.7] 

(See  border  in  Rug  No.  109.) 

FERAGHAN 

Dark  blue  field  well  covered  with  grilles,  rosettes, 
and  lance  leaves  in  soft  dark  colors.  Main  border 
stripe  carries  a formal  design  on  a green  ground. 

[No.  5777  — 6.9  x 4.3] 


FERAGHAN 


The 


field  of  this  rug  is  green,  which  serves  as  an 
unusually  rich  background  for  the  large  ‘ ‘ crown 


FERAGHAN 
No.  6766]  [6.9  x 4 


[J9] 

jewel  palms”  which  are  set  regularly  upon  it  in 
rows. 

In  the  border  are  soft  rich  red,  blue,  and  green 
tones  that  correspond  with  the  colors  within  the 
palm  forms  in  the  field.  [No.  6766  — 6.9  x 4] 


FERAGHAN 


StEM  palm-leaf,”  rich  blue  field  with  design 
in  red,  yellow,  and  light  blue.  Main  border  is  of 
nondescript  pattern  on  a soft  green  ground.  Color 
combinations  are  rich  and  beautiful  throughout  the 
rug.  [No.  3186  — 6 x 3.9] 


KIRMAN 


A.  KIRMAN  interpretation  in  soft  colors  of  the 
Herati  design,  which  is  more  floral  than  the  Fera- 
ghan  rendering,  but  not  so  full  of  curves  and  circular 
effects  as  in  old  rugs  of  Eastern  Persia. 

An  old  Kirman  vine  pattern  fills  the  main  border 
with  yellow  and  blue  devices  on  a deep  rose  ground, 
and  the  narrow  stripes  carry  a Mina  Khani  design 
and  profile  flower  forms  on  dark,  light  blue,  and 
yellow  stripes.  [Ao.  3429  — 6.6  x 4.4] 


Notable 

Antique 

Oriental 

Rugs 


The 

Tiffany 

Studios 

Collection 


KIRMAN 

A DARK  blue  field,  with  red,  yellow,  green,  and 
light  blue  Kirman,  Herati  design,  is  broken  by  a 
lance-leaf  Arabesque  medallion  in  which  floral  and 
grille  forms  rest  upon  a cream  ground. 

This  color  is  also  used  in  the  main  border,  in 
which  is  an  old  Kirman  device.  Seven  narrow 
borders  enhance  and  complete  the  decorative  scheme. 

[No.  6718—  6x4. 2] 

SEREBEND 

A SMALL  “jewel-palm’"  device  covers  in  typical 
Serebend  fashion  a soft  red  ground,  about  which  are 
nine  borders,  two  of  them  showing  Serebend  designs 
on  a green  ground.  The  general  color  effect  is  red 
and  soft  green.  [TVo.  5005  — 6 A x 4] 

DJVSHAGHAN 

An  antique  rug  of  rich  coloring  and  beautiful 
combinations  of  color  in  the  designs,  which  rest 
upon  a dark  blue  field. 


K I R M A N 
No.  6718]  [6x  4.2 


In  the  main  border  is  an  Arabic  rendering  of  Notable 
the  eight-pointed  star,  which  forms  a continuous  Antique 
design.  The  rug  is  dated  and  is  over  two  hundred  Oriental 
years  old.  [No.  3595  — 5 x 3.8]  Ru9s 


FERAGHAN 


Field  of  soft  red,  with  Herati  pattern  in  dull  green, 
blue,  and  yellow.  Serebend  influence  is  shown  in 
the  main  border  stripe.  [TVo.  2991  — 6 x 4] 


FERAGHAN 

An  oblong  red  panel  of  Arabic  derivation,  with 
pendants  taking  the  outline  form  of  a Chinese  jade 
ornament,  force  into  corner  spaces  a flower-covered 
lattice  upon  a peacock  blue  ground. 

The  main  border  of  green  carries  dark  and  light 
red  vines  and  foliate  forms.  [Ao.  2937 — 6 .6  x 3 .10] 

FERAGHAN 


Absolute  Feraghan  design  in  field,  which  is 

of  rich  blue,  and  in  the  reciprocal  device  used  as 
guard  stripe  and  inner  confining  border. 


The 

Tiffany 

Studios 

Collection 


[22] 

Elaborate  Arabesque  medallions  alternate  with 
rosettes  on  green  ground  in  shades  of  red,  tan, 
violet,  and  blue  in  the  main  border  stripe. 

[No.  5910  — 6.6  x 3.11] 


FERAGHAN 


Upoi 


iN  a matchless  dark  blue  field  the  ‘ ‘ crown- 
jewel  palm”  is  wrought,  with  evident  intent  to 
produce  a scintillating  effect,  in  soft  but  strong 
colors. 

The  ground  of  the  main  border  stripe  is  green. 

[No.  3761  — 6.1  xi] 


DJUSHAGHAN 


Deep  rich  pomegranate  field  with  a famous  Iran 
design  in  dark  blue  and  yellow  tracery  ornamented 
with  flowers  and  conventional  forms  in  white,  dark 
and  light  blue,  yellow,  and  red. 

The  eight-pointed  star  is  used  in  the  tribal 
border  in  such  a way  as  to  produce  a continuous 
effect.  The  narrow  borders  carry  a Mina  Khani 
device  in  blue  and  gold  color  on  a soft  red  ground. 

[No.  3306— 18.7  x 7.3] 


FERAGHAN 
No.  2937]  [ 6.6x3.10 


[»3] 

FERAGHAN  RUG 


All-over  red  effect,  though  green  is  used  in  the 
ground  of  the  main  border,  which  is  of  Serebend 
nature,  and  dark  blue,  light  blue,  and  yellow  in  the 
details  of  the  Herati  pattern  in  the  field.  [No.  2921 ] 


Notable 

Antique 

Oriental 

Rugs 


SEREBEND 


Six 


narrow  border  stripes  surround  the  red  field, 
a cream  ground  carrying  an  attractive  design  in  the 
main  stripe.  A soft  all-over  red  effect  makes  this 
a most  attractive  fabric.  [Ao.  6719 — 7.11  x 4.2] 


KH OR ASS AN 


Cerise,  light  and  dark  blue,  and  yellow  blended 
in  unmistakable  Khorassan  fashion. 

[Vo.  6921  — 13.7x6.9] 


KURD 


Large,  loose  “pear”  design  on  a deep  blue 
ground,  with  Kurdish  borders  in  soft  old  red, 
yellow,  blue,  green,  and  tan.  [No.  2855 — 12.3x4.7] 


The 

Tiffany 

Studios 

Collection 


* 

FERAGHAN 

PrEVALANCE  of  amethyst  color  in  the  main 
border  stripe,  on  a soft  green  ground,  and  in  the 
corner  spaces  adds  value  to  the  color  scheme,  in 
which  the  typical  Feraghan  design  is  carefully 
wrought  both  in  the  field  and  border. 

[No.  6756— 13 Ax  6.7] 

FERAGHAN 

Deep  blue  field  with  red  border,  Herati  design 
in  dark  rich  tones.  [No.  2056  — 12.9  x 6 A] 

SHIRAZ 

Y ELLOW  silky  field,  bold  Cossack  design  in  red, 
blue,  green,  dark  and  light  blue. 

[No.  3302  — 14.10x5.10] 

SHIRAZ 

SmALL  mosaic  “pear”  design  in  blue,  green, 
red,  and  yellow  upon  a dark  blue  field,  surrounded 


FERAGHAN 
No.  3761  ] [6.1x4 


[^5] 

by  six  borders,  the  broadest  of  which  carries  diagonal  Notable 
stripes.  [No.  3364 — 11.6x7.1 ] Antique 

Oriental 

Rugs 

SEREBEND 


Red  ground  with  jewel  palm  in  shades  of  blue. 
In  the  main  border,  which  is  one  of  many  stripes, 
the  typical  Serebend  design  is  laid  on  a cream 
ground.  [No.  2268—9.6x5.1 ] 


IRAN 


In  soft  reds,  blues,  greens,  and  yellows  an  all-over 
design  is  laid  on  a dark  blue  ground.  The  same 
colors  are  found  in  the  borders. 


[No.  2262  — 14.11  x 9.5] 


SEREBEND 


Eight  borders  carrying  small  and  interesting 
devices  surround  a rich  red  field,  upon  which  jewel 
palms  are  closely  set. 


[No.  2249—9.7  x 5 A] 


[>6] 

KURDISTAN 


The 

Tiffany 
Studios 
Collection 

-DLUE  medallions  with  pendants  on  a deep  red 
field.  Corners  are  cut  off  by  wavy,  serrated  lines 
and  carry  the  same  design  that  adorns  the  field. 
The  ground  of  its  main  border  is  a rich  cream. 

[No.  2272  — 7.9x5 A] 


FE  RAG  HAN 

Blue  field  with  regular  Feraghan  design.  Main 
border  with  red  ground  between  narrow  stripes  of 
green  and  yellow.  - [No.  2054  — 13.1  x7.1] 


ANTIQUE  HERAT  I 

Mythological  design  with  rudely  drawn 

device  representing  the  arms  of  Persia  — the  rising 
sun  behind  a lion  — and  the  conflict  between 
good  and  evil,  as  illustrated  by  a lion  overcoming 
a hare.  Soft  colors  artistically  blended  tend  to 
conceal  the  pictorial  nature  of  the  design. 

[No.  5432  — 13x6.4 ] 


SEREBEND 

SoFT  rich  red  field  upon  which  are  small  elon- 
gated jewel  palms.  The  main  border  design  on  a 
cream  ground  lies  between  two  narrow  stripes 
carrying  reciprocal  trefoil  pattern  in  blue  and 
brown.  [No. 2245  — 10x4.10 ] 

GULISTAN 

Black  ground  with  design  in  cerise,  yellow, 
white,  and  light  blue.  [TVo.  5897 — 14.1  x6.9 ] 

MOUSSOUL 

Heavy  pile,  silky  and  lustrous,  in  strong  reds, 
blues,  greens,  tans,  and  yellow. 

[/Vo.  2887— 14.7x6.3] 


SEREBEND 

Three  narrow  borders  on  either  side  of  the  main 
border,  which  shows  the  Serebend  design  in  a cream 


Notable 

Antique 

Oriental 

Rugs 


h8] 

The  ground.  Red  field  with  small  jewel  palms  in  green, 

Tiffany  blue,  and  yellow.  [No.  6363 — 11.5x7.2] 

Studios 
Collection 

CABISTAN 

Dark  blue  field  covered  with  a variant  of  the 
Herati  design  in  light  contrasting  colors. 

[No.  2856—9.1  x 5 A] 


KHORASSAN 

Deep  rose  medallion  with  light  blue  centre  and 
outline.  Herati  pattern,  though  not  absolute,  is 
suggestively  rendered  in  the  design. 

[No.  2260—8.2x5.1] 


KURDISTAN 

A KURDISTAN  version  of  the  Herati  design,  which 
is  carefully  rendered  in  rich  dark  colors  on  a blue 
field  in  which  the  ground  changes  from  dark  to 
light  at  intervals.  [No.  5761  — 20  x7 .11] 


INDO-PEIISIAN 
No.  3752 ] [ 6 x 3.U 


■ 


[ 29  ] 

INDO-PERSIAN 

Rug  showing  strong  East  Indian  characteristics 
with  Arabic  rose  colored  field  and  floral  design  in 
burnt  orange,  light  rose,  sky  blue,  green,  and  cream. 

The  palmate  and  rosette  forms  are  connected 
by  vine  tracery  in  soft  jade  color. 

[No.  3752  — 6x3.4] 


Notable 

Antique 

Oriental 

Rugs 


A PAIR  OF  HAMADAN  RUNNERS 


Upon  a soft  cream  ground  are  medallions  and 
outline  designs  in  natural  colored  camels’  hair. 
Green,  blue,  yellow,  and  red  in  rich  shades  are  used 
in  the  borders. 

Kenar&h  of  this  quality  are  not  easily  obtainable 
at  the  present  time.  [No.  3479 — 18.8  x 3] 

[No.  3480— 19.9x3] 


HAMADAN 


Natural  colored  wool  or  hair  all  through  the 
field,  border  and  outer  edge  makes  a rich  soft  back- 


The 

Tiffany 

Studios 

Collection 


[3o] 

ground  for  an  all-over  minute  design  in  rich  colors. 
Unusual  and  rare  specimen ; there  is  no  cotton  used 
in  warp,  woof,  or  pile.  |7Vo.  3038 — 15.6  x3.11\ 


HAM  A DAN 

Arabesque  medallions  and  pendants  of  soft 

colors  are  set  at  intervals  upon  a rose  colored  field, 
which  is  diapered  with  small  “palm  leaf”  design. 

Four  narrow  Hamadan  borders  surround  the 
field  and  separate  it  from  a wide  outer  band  of 

M. 

natural  colored  camels’  hair,  upon  which  stem 
“palm  leaves”  are  set  transversely  to  the  field  on 
the  sides  and  at  the  top  and  bottom  of  the  rug. 

[No.  6958—11.5x6.6 ] 


SEREBEND 


Unusual  and  beautiful  Serebend  showing  great 
wealth  of  color  in  the  seven  borders,  with  pre- 
dominance of  light  blue,  light  green,  and  violet, 
in  amethyst,  emerald,  and  sapphire  tints  in  the  palm 
design  throughout  the  field. 

[No.  6821  — 8.11  x 4.5] 


[3i] 

MOUSSOUL  SEREBEND 

Deep  blue  ground  with  a variant  of  the  Moussoul 
tree  design  in  the  main  border  stripe. 

[No.  2269— 9.6x5 A] 


Notable 

Antique 

Oriental 

Rugs 


SEREBEND 


Small  *• 


pear”  design  in  soft  colors  on  a cream 
colored  field  with  brown  and  reds  in  subdued  tints 
in  the  borders.  [No.  6849  — 8.4  x 6.9] 


KHORASSAN 


The  gourd  palm  is  attractively  shown  on  a cream 
ground  over  the  field,  which  is  surrounded  by  a 
double  border  stripe  in  which,  in  soft  shades  of 
blue,  green,  and  cream,  the  design  is  laid  on  a rose 


ground. 


[No.  5000] 


KHORASSAN 


Deep  rose  field  with  Khorassan  palm  in  pink  and 
tans,  with  slight  semblance  of  a vine  in  light  shades 


The 

Tiffany 

Studios 

Collection 


I>1 

of  green.  Dark  and  light  blue,  yellow,  and  soft 
red  are  found  in  the  border  design. 

[No.  2214 — 5.8x3. 5] 


KHORASSAN 


Khorassan  palms  in  pink  and  light  blue,  each 

one  by  itself,  in  a small  section  formed  by  a con- 
ventionally arranged  golden  yellow  lattice  upon  a 
dark  blue  field.  [No.  5014  — 5.7  x3.9 ] 


A PAIR  OF  KURDISH  KEN  ARE  H 

An  unusual  ground  of  light  blue  with  lavish  use 
of  soft  red  in  the  design,  which  covers  it  with  lattice 
and  lance-leaf  pattern. 

The  border  design  has  been  borrowed  from 
Cabistan  weavers,  and  in  it  are  touches  of  ‘ ‘ Gulistan 
pink.”  [No.  3033—13.9  x 2.10] 

[No.  3034  — 13  x 2.11] 


A PAIR  OF  MOUSSOUL  KEN  ARE  H 

Large,  loose  Moussoul,  “pear”  design,  com- 
posed of  flowers  springing  from  a basket  or  jardiniere 


[33] 

base,  are  woven  in  strong  but  soft  colors,  con- 
trasting with  the  dark  blue  ground. 

The  borders  are  laid  in  dull  yellow,  olive,  tan, 
and  primary  colors  and  show  nomadic  handling  of 
design.  [No.  3096  — 15 A x 3.6 ] 

[No.  3097  — 16x3 A]  " 


SEREBEND 

A SMALL  “crown-jewel  pear”  design  in  topaz, 
ruby,  and  sapphire,  with  emerald  tip,  covers  the 
field  of  rich  dark  blue,  about  which  is  a Vandyke 
border  outlined  with  sawtooth  design  in  cream 
color. 

Several  narrow  borders  in  soft  cream,  tan,  blue, 
and  Persian  pink  carry  variants  of  the  Serebend 
patterns.  |7Vo.  6031  — 16.5  x 3.6 ] 


A PAIR  OF  FERAGHAN  KEN  A RE  H 

SlJPERB  old  rose  ground  with  strongly  marked 
design  in  blues,  tans,  and  moss-green,  favoring  the 
Khorassan  treatment  of  the  Herati  pattern. 

The  arrangement  of  the  “crown-jewel  pear” 


Notable 

Antique 

Oriental 

Rugs 


The 

Tiffany 

Studios 

Collection 


[34] 

design  in  the  widest  border  stripe  also  suggests  a 
more  Eastern  origin  than  the  Feraghan  district. 

[No.  3044—14  x2.10] 
[No.  3045  — 13  x 2. 11} 


A PAIR  OF  SEREBEND  KEN  ARE  II 

Soft  in  tone,  the  design  with  which  field  is 
strewn  small  and  compact,  the  borders  true  to  type, 
observing  in  color  the  scheme  ordinarily  used  by 
the  Serebend  weavers,  these  hall  strips  commend 
themselves  by  their  combined  beauty  and  utility. 

[No.  3853  — 16.8x3.2] 
[TVo.  3854  — 16. 6 x 3] 


A PAIR  OF  KURDISTAN  KENAR&H 


Field  of  soft  dull  canary,  upon  which  a Turkish 
tree  or  plant  design  is  laid  in  colors  which  blend 
with  the  ground  most  harmoniously. 

The  reciprocal  trefoil  in  the  borders  shows  to 
advantage  attractive  combinations  of  blue  with  brown 
in  the  outer,  and  brown  with  pink  in  the  inner, 
Stripe.  [No.  5087  — 15.7  x 2.5 ] 

[No.  5088—14.8x3.5 ] 


[35] 

TURKOMAN 


The  rich  red  field  of  this  antique  Turkoman  rug 
is  surrounded  by  an  inconspicuous  narrow  border 
with  reciprocal  design  in  the  outer  stripe. 

The  field  is  squared  off  by  dark  lines  carrying 
dots  and  small  circles  of  varying  colors.  The  in- 
tersection of  these  squares  makes  the  centre  of  a 
diamond  form  marked  off  by  an  ornamental  border. 
Analysis  of  the  designs  which  fill  the-  diamonds 
reveals  the  fact  that  there  is  a great  difference  in  the 
patterns  used  at  the  top  and  bottom  of  the  rug. 

The  weaver  began  by  filling  the  squares  with 
unrelated  forms  consisting  of  tree,  leaf,  and  angular 
motifs . After  following  this  scheme  for  about  three 
feet,  stars  are  used  to  fill  the  diamond  forms,  to  the 
exclusion  of  other  motifs. 

[A To.  3617  — 12.10  X 6.8] 


Notable 

Antique 

Oriental 

Rugs 


TURKOMAN  RUG 


While  this  is  an  old  rug  the  design  is  of  simple 
and  direct  nature,  antedating  many  fabrics  which 
show  greater  elaboration,  skill  of  workmanship,  and 
more  carefully  chosen  colors.  This  is,  in  fact, 


The 

Tiffany 

Studios 

Collection 


[36] 

without  the  slightest  suggestion  of  commercialism, 
a rug  made  by  a dweller  in  some  primitive  Turkoman 
tent  for  native  use. 

In  the  octagon  the  eight  divisions  of  location 
were  without  doubt  originally  indicated,  and  in  an- 
cient Mongolian  and  Tartar  thought  these  divisions 
were  supposed  to  be  presided  over  by  animal  deities, 
just  as  in  all  early  calculations  the  divisions  of  the 
zodiac  are  represented  as  under  the  control  of  pre- 
siding forces. 

The  powers  of  light  and  the  powers  of  darkness 
formed  the  two  extremes,  and  as  such  are  repre- 
sented by  light  and  shade.  A semi-barbaric  art 
endeavored  to  express  this  pictorially,  and  the  oc- 
tagon with  its  light  and  dark  boundaries  was  often 
used.  In  very  early  designs  the  animals  controlling 
the  elements  were  crowded  into  circular  and  octag- 
onal forms.  [Ao.  3619  — 11 .2  x 47] 


CAUCASIAN  AND  TRANS- 
CAUCASIAN RUGS 


CAUCASIAN  AND  TRANS- 
CAUCASI  AN  RUGS 

T HE  rugs  of  the  Caucasus  are  easily 
recognized  as  they  adhere  in  weave  and 
design  to  style  and  methods  that  have  ob- 
tained through  the  centuries. 

Geometric  ornament  finds  its  fullest  ex- 
pression in  the  patterns  employed  by  the 
weavers  of  this  region,  and  while  each 
tribe  has  some  distinctive  style  by  which 
its  product  may  be  known,  the  interrela- 
tion of  life  and  thought  brings  about  many 
changes  and  produces  a great  deal  that  is 
mongrel  in  design.  For  this  reason  an- 
tique specimens  which  can  offer  credentials 
and  prove  their  claims  to  recognition  are 
becoming  increasingly  rare  and  valuable. 

Daghestan,  Kabistan,  Baku,  Derbend, 
Tchichi,  and  Circassian  are  the  most  impor- 
tant of  the  Caucasian  rugs,  while  Shirvan, 
Kazak,  Soumac,  and  Karabagh  rugs  are 
known  as  Trans-Caucasian  products. 


The 

Tiffany 

Studios 

Collection 


DAGHESTAN 


Upoi 


IN  a deep  blue  ground  are  laid  four  diamond- 
shaped medallions,  two  red  and  two  of  cream  color, 
bearing  odd  decorative  designs  in  yellow,  green,  and 
blue,  between  which  small  octagonal  oblong  and 
diamond  forms  are  scattered. 

This  rug  belongs  to  the  veteran  corps  of  fabrics, 
an  antique  specimen,  honorable  by  reason  of  merit 
and  service,  quality  and  ancestry.  Both  warp  and 
woof  are  of  wool  — soft,  well  prepared,  and  pliable. 
Carefully  selected  colors  are  used  with  fidelity  to 
a tribal  original,  which  in  fact  this  bears  every 
evidence  of  being. 

[No,  2702—7.10x4] 


KAZAK 

Dark  blue  and  dark  green  figures  composed  of 
“ latch  hooks  ” are  laid  on  a field  of  lustrous  red. 

“ Tarantula  ” border  design  in  red,  blue,  green, 
and  yellow  on  a deep  cream  ground.  A typical 
Kazak  both  in  weave  and  design. 

[No.  2039— 9x3.5] 


KARABAGH 
No.  2330]  [ 9.6  x U.9 

Illustration  shows  $ length 


SHIRVAN 


Dark  blue  field  with  a variant  of  “ tarantula 
design  on  a cream  ground  in  the  main  border. 

[No. 2979— 7. 3x4.6] 


Notable 

Antique 

Oriental 

Rugs 


DAGHESTAN 

A.  CREAM  colored  lattice,  with  touches  of  light 
blue,  deep  red,  and  yellow,  spreads  in  delicate 
tracery  over  a deep  tan  ground. 

One  of  the  tribal  designs  of  Daghestan,  is  laid 
on  a leaf-green  border  stripe,  while  a reciprocal 
trefoil  adorns  an  inner  border  of  robin’s  egg  blue, 
and  an  outer  stripe  of  dark  blue. 

[No.  3567—5.1  x 4.1] 


K ARAB AG H 

A KIRMAN  design,  upon  a superb  dark  blue 
ground,  showing  nomadic  semi-geometric  floral 
forms  in  red,  yellow,  green,  soft  pink,  and  violet. 

Upon  an  all-cream  ground  in  the  wide  border 
are  Kirman  tree  designs  and  archaic  bird  forms. 


The 

Tiffany 

Studios 

Collection 


The  outer  border  is  laid  in  dark  green  and  carries 
a vine  pattern  in  soft  red,  blue,  and  cream. 

[No.  2330— 9. 6 x4.9] 


BAKU 

Silky  wool,  well  prepared  and  dyed  in  primary 
colors, — yellow,  blue,  and  red,  — has  been  used  in 
the  making  of  this  rare  rug. 

A succession  of  Daghestan  serrated  medallion 
forms  extend  from  end  to  end  of  the  field,  which 
is  of  a wondrous  shade  of  blue. 

[No.  2639—7.10x3.7] 


BAKU 


iV  MAUVE  medallion  with  inner  medallion  of 
tan  with  pink  centre  rests  upon  a sky-blue  field. 

Archaic  plant  forms  with  birds  on  either  side 
balancing  each  other  are  found  in  the  border. 

[No.3569-3.8x2.il] 

BAKU 

Through  the  centre  of  the  field  and  edging  it 

on  either  side,  bold  forms,  carrying  loose  “ pear  ’’ 


BAKU 

No.  2638]  [5.9  x 5.3 


[43] 

designs  in  tawny  shades,  lie  upon  a black  back- 
ground . 

In  the  border  are  flat  flower  forms  in  tan  and 
brown  on  a light  blue  ground. 

[No.  2638— 5. 9x5.3] 


mmmmmmmmmmmmKmmmmmmmmmmmmsmmmtmmammmmvmemumBsm 

SHIRVAN  BAKU 


./V  SMALL  but  choice  specimen  of  weaving,  in 
which  are  all  the  distinctive  features  that  gave 
beauty  to  the  finest  rugs  produced  in  the  Daghestan 
province. 

The  pile  is  of  wool  of  superior  quality  and  is 
clipped  very  close,  making  the  fabric  thin  and 

Soft  tan,  brown,  light  blue,  and  black  were  the 
colors  usually  employed  by  the  weavers  of  the  sea- 
port town  in  rugs  of  this  general  design. 

Upon  a black  field  large,  loose,  heavy  “pear” 
forms  are  distributed  with  apparent  disregard  to 
the  central  medallion  and  corner  spaces  cut  off  by 
serrated  lines,  which  interrupt  the  symmetry  of  the 
field  design. 

In  the  corners  and  in  the  main  border  stripe  are 
flat  four-petalled  flowers  repetitively  arranged  on  a 
light  blue  ground. 

Both  the  color  scheme  and  design  of  this  rug  are 
true  to  type.  [Ao.  3422 — 6.1  a?  3.6] 


Notable 

Antique 

Oriental 

Rugs 


The 

Tiffany 

Studios 

Collection 


. [44] 

SHIRVAN  BAKU 

jAlN  interesting  companion  rug  to  No.  34^2 , though 
differing  from  it  in  the  more  lavish  use  of  tans  and 
browns  in  the  typical  Baku  design. 

Four-petalled  blossoms  in  soft  pinkish  tan  lie 
upon  a light  blue  ground  in  the  corner  spaces. 

Both  corrosive  black  dye  and  a fugitive  pink  color 
have  been  used  in  this  rug  and  are  among  the  ear- 
marks of  its  origin,  as  in  certain  districts  in  the 
Shirvan  province  both  of  these  dyes  were  commonly 
used  in  the  reproduction  of  time-honored  fabrics. 

[No.  3577— 6.2  x 3.6] 


KAZAK  PRAYER  RUG 


The  field  divided  into  four  cross  sections  changes 
from  dark  blue  to  red,  then  to  yellow,  and  finally  to 
green  in  the  upper  part  of  the  prayer  niche.  Upon 
these  oblong  spaces  are  octagon  forms  surrounded 
by  latch  hooks  of  rudest  and  most  barbaric  nature. 
There  are  three  borders,  the  inner  one  green,  the 
outer  red,  with  a middle  and  main  stripe  carrying 
a variant  of  the  “tarantula”  design  on  a cream 
ground.  [No.  3510— 5 A x 3.5] 


SIIIR  VAN  BAKU 
No.  3422]  [6.1  x 3.6 


[45] 

CABISTAN  RUG 

There  is  enough  tribal  distinction  about  this  rug 
to  differentiate  it  from  others  of  the  same  general 
style. 

A small  black  diamond  in  the  upper  part  of 
each  of  the  * 4 pear  ” forms,  which  are  stiffly  arranged 
upon  a black  background,  breaks  the  monotony  and 
makes  a strong  contrast  to  the  light  shades  of  pink, 
green,  red,  and  cream  of  which  the  “pear”  is 
composed. 

With  the  Cabistan  diagonal,  and  vine  and  flower 
borders,  is  a main  stripe  carrying  a conventional 
design  on  a cream  ground. 

[No.  6088— 10.7  x 6. 3\ 


Notable 

Antique 

Oriental 

Rugs 


K ARAB AG H 

A MARVEL  of  lustrous  color  in  topaz,  emerald, 
ruby,  and  amethyst  tints. 

The  field  of  rich  dark  blue  is  well  covered  with 
small  medallions  and  various  devices  indiscrim- 
inately arranged. 

A hook  border  line  of  camels’  hair  in  natural 
color  surrounds  the  field,  adding  a feature  of 
unusual  interest.  On  a superb  golden  yellow 


I 46  I 

The  ground  is  a border  design  of  upright  plant  and 
Tiffany  flower  forms.  In  the  outer  border  stripe  a cream 
Studios  colored  vine  carries  crisp  red  blossoms,  and  light 
collection  green  leaves  on  a dark  black-brown  ground. 

[No.  2571  — 8.7  x3.2] 


KAZAK 


LATTICE  of  metallic  blue  on  a field  of  natural 
colored  wool,  with  cream  border  carrying  floral 
forms  in  soft  tones  and  halftones  of  red,  blue, 
green,  yellow,  and  rose  color. 

[No.  6166  — 8.8x3.5 ] 

SHIR  VAN 


Effulgent  stars  in  blue,  yellow,  cream,  and 

red  on  a dark  blue  field  with  ‘ 4 chichi  ’ ’ design  on 
a cream  ground  in  the  border. 

[No.  3178— 7.9x3.10] 


SHIRVAN 


Heavy  rug  in  deep  rich  shades. 

[No.  3177— 8x3.9} 


[47] 

DAGHESTAN 

Medallion  forms  on  a dark  blue  field,  with  a 

typical  tribal  design  in  green,  cream,  red,  brown, 
and  blue  on  a light  yellow  ground  in  the  main 
border. 

[No.  5660— 9.8  x 4.3] 


Notable 

Antique 

Oriental 

Rugs 


SHIR  VAN 

iV  PREDOMINANCE  of  cream  color  gives  an  all- 
over  light  effect  to  this  fabric,  although  the  field  is 
of  dark  blue  and  the  color  values  strong. 

[No.  3182  — 9.3  x 4.2] 


MOUSSOUL  FERAGHAN 


Many  borders  surround  the  dark  blue  field,  in 
which  the  design  is  laid  in  crisp  and  clear  though 
thoroughly  refined  colors. 

[No.  2993  — 9.10  x 5.5] 


[48] 

SHIRVAN 


The 

Tiffany 

Studios 

Collection 


Dl 


[AMOND  forms  in  green,  red,  and  cream  ex- 
tend from  end  to  end  of  a dark  blue  field,  and 
Shirvan  tribal  border  in  red,  blue,  yellow,  cream, 
pink,  and  light  green.  [No.  3183  — 8.10  x 3.4] 


SHIRVAN  PRAYER  RUG 


Deep  tan  prayer  panel  with  plant  forms  in  the 
spaces  made  by  serrated  lattice  in  blue,  which 
crosses  the  field  diagonally. 

A reciprocal  trefoil  in  yellow  and  blue  separates 
the  field  from  the  border,  which  consists  of  a broad 
stripe,  bearing  typical  Shirvan  device,  between  two 
dark  stripes  ornamented  with  rosettes. 

[No.  3166  — 4x3.8 ] 

SHIRVAN  PRAYER  RUG 


White  prayer  panel  without  the  serrated  lattice 
that  is  usually  found  in  Shirvans  of  this  quality  and 
style.  The  plant  forms,  however,  are  so  placed  in 
rows  across  the  field  as  to  follow  a diagonal  color 
arrangement. 


[49] 

Many  small  borders  take  the  place  of  the  usual 
broad  border  with  narrow  stripe  on  either  side. 

Two  camels  facing  the  prayer  niche  make  an 
unusual  and  interesting  feature  of  the  design. 

[No.  3568  — 3.7  x 3] 


SHIRVAN  PRAYER  RUG 


Golden  yellow  field  with  serrated  lattice  in  dark 
blue  outlined  with  red,  a plant  form  in  each  division. 

Reciprocal  trefoil  in  blue  and  brown  surrounds 
the  field  as  a confining  border. 

[No.  2202  — 3.8x3 A] 


CARISTAN 


UpO] 


IN  a cream  ground  a plain  dark  blue  lattice 
divides  the  field  into  small  eight-sided  compart- 
ments, in  each  of  which  is  a geometric  form  in  light 
blue,  light  green,  red,  and  black.  The  latter  is  of 
so  corrosive  a nature  that  it  has  worn  down  wher- 
ever it  has  been  used,  thus  throwing  the  designs 
in  color  into  high  relief  and  giving  an  interesting 
quality  and  value  to  the  rug. 

[No.  3457  — 4.5  x 2. 11] 


Notable 

Antique 

Oriental 

Rugs 


[5°] 

DAGHESTAN 


The 

Tiffany 
Studios 

Collection  t~\ 

JL/EEP  red  field  in  which  are  three  sectional  flower 

designs  in  dark  blue,  yellow,  tan,  and  cream  color. 
Small  unrelated  devices  and  stiff  tree  forms  are 
scattered  throughout  the  field. 

The  main  border  is  of  deep  cream,  upon  which 
in  blue  and  red  is  a typical  Shirvan  design,  supposed 
to  have  been  originally  a form  of  the  sacred  tree. 

[No.  3m  — 6x3.5] 


KAZAK 

An  interesting  specimen  of  pure  Kazak  weaving 
in  color  tones  soft  and  beautiful  of  light  blue,  tan, 
and  apricot  pink,  with  sheen  not  unlike  the  bloom 
of  a peach.  [Ao.  3518  — 4.1  x 2.7] 

GUENDGE 


T HIS  rug,  in  strong  primary  colors  coarsely  woven, 
is  a shepherd  rug  of  the  Lake  Gotcha  district.  The 
design  is  of  crude  nature.  A large  outline  form  in 
yellow  edged  with  blue  fills  the  field,  which  is  of 


rich  red.  Within  each  end  of  this  form  is  a green  Notable 
figure,  and  in  the  centre  an  eight-sided  oblong  Antique 
medallion  surrounded  by  a series  of  shepherds’  Oriental 
crooks.  In  the  centre  of  this  medallion,  on  a dark  Ru9s 
blue  ground,  are  six  animals  crudely  drawn.  Stars 
and  many  small  animals,  presumably  sheep,  are 
scattered  over  the  field  of  this  nomad  product. 

[No.  3563— 6.8x3 A] 


CAB  I ST  AN 

A.LL-WOOL  rug  made  in  the  eastern  part  of  the 
Daghestan  province.  An  oblong  figure  of  square  and 
octagon  shape  in  blue,  with  cream  colored  border, 
lies  upon  the  red  field,  almost  completely  filling  it. 
In  the  centre  of  this  figure  is  an  octagon  of  dark 
blue  ornamented  with  double  T forms,  in  balancing 
positions  around  a smaller  octagon.  The  colors  are 
red,  blue,  and  cream,  with  shades  of  tan  and  dark 
brown,  the  latter  as  ground  in  the  two  narrow 
borders.  Tree  design  in  main  border. 

[No.  2984— 4.2  x3.0\ 


CABISTAN 


W ANDERING  weavers  have  in  this  rug  so  skil- 
fully combined  native  with  adopted  motifs  and 


[52] 

The  methods  that  it  is  unique  and  of  great  interest.  The 
Tiffany  pattern  on  the  dark  blue  field  changes  at  intervals 
Studios  throughout  its  entire  length.  The  seven  border 
Collection  stripes  are  laid  in  solid  colors  — green,  pink,  old 
rose,  red,  two  shades  of  blue,  and  ivory — and  are 
toned  to  soft  and  varying  tints,  with  an  occasional 
vagrant  motif  of  design  as  ornamentation. 

[No.  6672  — 13.7  x 3.3] 


ANTIQUE  SHIRVAN 

Ground  of  both  field  and  main  border  of  soft 
tans  and  browns  with  small  oblong  diamond  forms 
in  red,  blue,  and  green  powdering  the  field  and  an 
archaic  Shirvan  design  in  soft  colors  in  the  main 
border.  [Wo.  3758— 10.6  x 3.3 ] 


RUGS  OF  ASIA  MINOR 


RUGS  OF  ASIA  MINOR 

_/\_S  influenced  one  by  the  other,  the 
weavers  of  Asia  Minor  have  always  been 
accustomed  to  incorporate  borrowed  mo- 
tifs with  their  own  tribal  designs,  so  that 
only  the  evidence  of  local  handling  and 
craftsmanship  makes  it  possible  to  distin- 
guish one  rug  from  another;  for  while 
there  are  certain  features  in  their  designs 
common  to  all,  the  weavers  of  different 
localities  lay  claim  of  priority  to  either 
their  invention  or  adoption.  Grouped  in 
families,  Ghiordez,  Kulah,  Melhaz,  and 
Ladik  rugs  lead  in  importance  all  the 
weavings  of  Asiatic  Turkey. 

Originally  the  designs  in  Asia  Minor 
rugs  were  worked  in  strong  primary  colors. 
From  Bergama  in  the  northwest,  all  along 
the  eastern  shores  of  the  Mediterranean, 
in  Cairo,  Morocco,  and  even  in  Spain, 
under  Arabic  and  Moorish  rule,  Christians, 
Hebrews,  and  Mohammedans  have  shared 


The 

Tiffany 

Studios 

Collection 


[56] 

and  exchanged  patterns.  In  the  rugs  woven 
by  these  people  there  are  strong  points  of 
resemblance,  and  without  knowledge  of 
technical  methods  in  weaving  and  the  prep- 
aration of  materials  employed  by  individu- 
als, one  might  easily  mistake  a Moorish  for 
an  Asia  Minor  rug  when  considering  fabrics 
made  during  the  early  period  when  strong 
colors  were  used  by  all  weavers  alike. 

Later,  Italian  and  French  influences 
produced  changes  in  designs,  softened 
colors,  and  gave  halftones  and  tints  innu- 
merable to  the  colorist. 

Antique  Kulah  rugs  trace  their  ancestry 
to  the  Island  of  Rhodes,  and  occasionally 
in  the  older  weavings  a motif  will  stand 
out  as  absolutely  Rhodian. 

Ghiordez  weavers  have  drawn  inspi- 
ration from  Ryzantine  and  other  sources, 
and  there  are  many  motifs  in  designs  in 
Ghiordez  rugs  that  are  conceded  to  have 
been  first  used  by  the  weavers  of  that 
district.  When  such  appear  in  Kulah 
rugs  they  may  be  distinguished  from  orig- 
inal Kulah  designs,  and  vice  versa. 


GHIORDEZ  PRAYER  RUG 
No.  3786]  [ 5.2x3.10 


t57] 

A GROUP  OF  FOUR  GHIORDEZ  RUGS 

A CRITICAL  examination  of  these  weaves  and 
designs  Avill  reveal  with  hardly  an  exception  strictly 
Ghiordez  features. 

The  prayer  niche  in  each  rug  is  high.  In  two 
of  the  rugs  the  wavy  water  motif  appears  in  the 
narrow  guard  stripes  (Nos.  3682  and  3683).  In 
neither  the  broad  nor  narrow  borders  are  there  any 
distinctively  Kulah  designs,  and  in  each  and  every 
one  there  is  a blocking  of  the  design  which  forces 
its  component  parts  into  squares. 

The  rugs  have  been  carefully  repaired  in  order 
to  preserve  them.  Bits  of  more  recent  weaving 
have  been  skilfully  used  to  finish  the  ends  and  re- 
place worn  parts.  [No.  3680 — 4.7  x 3.9] 

[No.  3681— 5.5  x 4] 
[No.  3682  — 5.7  x 4.3] 
[No.  3683—  5.7  x 3. 4] 


Notable 

Antique 

Oriental 

Rugs 


Greenish  tan  panel  powdered  with  fleck  design 

often  seen  in  borders  of  Kulah  rugs. 

[No.  3680— 4.7  x 3.9] 


Tan  prayer  panel,  main  border  design  in  blue, 
red,  and  light  green  laid  on  a cream-white  ground. 

[No.  3681— 5.5  x 4] 


The 

Tiffany 

Studios 

Collection 


[58] 

Jl  RAYER  panel  of  robin  s egg  blue  is  unbroken 
save  by  profile  pinks  in  red  and  white  which  edge 
the  field. 

Red  predominates  elsewhere  in  the  rug  — laid 
in  tree  design  on  white  in  the  main  border,  in  the 
narrow  guard  stripes  in  two  shades  on  either  side 
of  a wavy  white  line,  and  as  ground  color  in  the  space 
above  the  prayer  niche.  [Ao.  3682  — 5.7  x 4.5] 

Tan  prayer  panel  edged  with  profile  flower  forms. 

[Vo.  3683—5.7  x 3.4] 


GHIORDEZ  PRAYER  RUG 


Many  distinctly  Ghiordez  features  mingle  with 
strong  Kulah  characteristics  in  this  product  of 
Western  Asia  Minor,  which  is  most  unusual  in  color 
effect,  both  field  and  border  being  of  the  same  yellow- 
ish tan,  upon  which  formal,  as  well  as  realistic 
floral  motifs  in  red,  blue,  and  brown,  are  delicately 
etched.  [No.  3786—5.2  x 3.10] 


GHIORDEZ  PRAYER  RUG 


BlUE  prayer  panel  edged  with  profile  flower 
forms.  In  the  main  border  a variant  of  the  tree 
design  is  laid  in  soft  harmonious  colors  on  a cream 


GHIORDEZ  PRAYER  RUG 
No.  3788]  [5  x 4.2 


- / 


ground,  and  water  motifs  fill  the  narrow  guard 
stripes  and  outline  the  prayer  niche. 

[No.  3788—5  x 4.2] 


NINETEENTH  CENTURY  GHIORDEZ  RUG 


Prayer  rug  in  cerise,  green,  blue,  and  tan  colors. 

[No.  2145— 5.4x3. 8] 


NINETEENTH  CENT  UR  Y GHIORDEZ  R UGS 

(BECTASH  MOHAMMEDAN) 

jAl  DISTINCT  class  of  rugs  are  those  made  by  the 
‘ ‘ Shriners  ” of  the  Orient.  In  them  the  designs  in 
the  field  are  mainly  architectural  and  should  be 
studied  from  the  base  of  the  prayer  panel. 

The  “pavement,’’  the  “columns,’’  and  symbolic 
flower  and  tree  forms  are  significantly  used,  while 
liberties  are  taken  with  borrowed  designs  that  are 
used  merely  for  decorative  purposes. 

[No.  2172— 6Ax  A] 

In  all  four  of  these  rugs  the  tree  drawn  in  various 
ways  appears  in  the  field.  The  lightest  of  French 
shades  are  used  in  the  designs,  which  are  nondescript 
and  in  the  main  merely  decorative. 


Notable 

Antique 

Oriental 

Rugs 


The 

Tiffany 

Studios 

Collection 


[Co] 

The  Bectash  Mohammedans  have  seceded  from 
the  orthodox  faith  and  are  not  governed  by  the  laws 
of  Islam. 

In  the  rugs  which  they  make  are  peculiarities 
which  render  them  immediately  recognizable  and 
entirely  unlike  all  other  Asia  Minor  weavings. 

[No.  2199— 6 x 3.7] 
[No.  2179— 5.10  x 3.7] 
[No.  2176— 6.2  x 3.8] 
[No.  2188—4.10  x 3.5] 


BECTASH  MOHAMMEDAN  RUG 

( A NA  TO  LI  AN) 


In  this  antique  Asia  Minor  prayer  rug  are  shown 
Ghiordez,  Kulah,  and  Bergama  features  in  both 
design  and  weave. 

The  color  of  the  field  is  of  a cerise  which  ante- 
dates the  use  of  aniline  dyes,  and  the  blue  and  yellow 
are  of  extraordinary  quality.  [iVo.  2703 — 4.4  x 3] 

NINETEENTH  CENTURY  GHIORDEZ  RUG 

There  is  in  this  rug  a departure  from  Ghiordez 
tradition  in  the  use  of  color,  and  by  the  introduc- 
tion of  cerise  the  scheme  becomes  quite  unrelated 
to  any  other  style. 


[6i] 

While  many  strictly  Ghiordez  motifs  have  been  Notable 
used  in  the  design,  the  appearance  of  seven  Kulah  Antique 
stripes  in  the  border  adds  a great  interest  to  the  fabric.  Oriental 

It  is  curious  to  note  the  added  respect  with  which  ^U9S 
a rug  is  treated  if,  instead  of  more  or  less,  there 
are  exactly  seven  of  the  typical  stripes  in  a Ghiordez 
or  Kulah  rug.  Quite  naturally  allusion  is  made  to 
the  4 4 seven  days  of  creation  border  ” or  the  ‘ ‘ border 
of  the  seven  heavens.” 

Far  back  in  the  long  ago,  before  symbols  had 
given  birth  to  patterns,  when  thought  lay  under- 
neath all  manifestation  in  form,  the  ancients,  when 
endeavoring  to  express  belief,  resorted  to  one  and  an- 
other sign.  Tracing  back  along  the  lines  of  Moham- 
medan lore,  we  find  that  the  seven  planets,  the 
seven  days  of  creation,  and  the  seven  heavens  were 
often  significantly  portrayed,  and  there  is  a strong 
feeling  among  Orientals  that  the  use  of  seven  similar 
stripes  in  a border  originally  indicated  an  allusion 
to  some  one  or  the  other  of  the  most  important 
groups  of  seven. 


“ Seven  heavens  Allah  made 
First,  Paradise  . . , 

The  next  . . . the  Gate  of  Eternity, 

The  third  . . . the  Peaceful  House, 

The  fourth  . . . Felicity, 

The  fifth  was  . . . Home  of  Golden  Light, 

The  sixth  . . . the  Garden  of  Delight, 

The  seventh  . . . the  Footstool  of  the  Throne, 

And  each  and  every  one, 

Sphere  above  sphere  and  treasure  over  treasure, 

The  great  decree  of  God  made  for  reward  and  pleasure.” 


i 


The 

Tiffany 

Studios 

Collection 


[62] 

With  the  birth  of  established  patterns  symbolic 
design  passed  into  decadence,  and  finally,  without 
any  especial  significance,  patterns  reproduced  them- 
selves, so  that,  bereft  entirely  of  all  meaning,  they 
were  handled  unscrupulously  and  without  thought 
until  they  became  empty  forms,  however  beautiful. 

There  have  been  changes  through  the  years  in 
both  the  design  and  colors  used  in  Asia  Minor 
products.  Aniline  dyes  are  so  utterly  unlike  those 
used  in  ancient  times  that  they  at  once  stamp  a 
fabric  as  modern,  but  the  conservative  shades  of 
crimson,  cherry,  and  cerise  which  are  found  in  this 
antique  rug  are  surpassingly  beautiful  and  mark 
the  period  of  manufacture  with  a great  degree  of 
certainty.  These  shades  of  crimson,  yellow,  and 
light  blue  form  a series  of  colors  most  entrancingly 
combined  to  enhance  the  beauty  of  the  green  in  the 
central  panel,  which  shows  the  intentional  shading 
often  imitated  in  modern  rugs. 

(See  No.  3359  and  No.  2172.)  [^0.  2186—  9 A X 5.2] 


NINETEENTH  CENTURY  GHIORDEZ 
PRAYER  RUG 

The  crimson  in  this  rug  is  of  very  unusual  tone 
and  has  been  so  skilfully  shaded  and  outlined  with 
a light  reddish  brown  as  to  vary  the  quality  of  the 
color  in  a most  interesting  way. 


NINETEENTH  CENTURY  GHIORDEZ  RUG 
No.  2186]  [9. Uxb.2 

Illustration  shows  \ length 


[63] 

Upon  a field  of  alternate  crimson  and  green 
stripes  the  prayer  panel  is  laid  in  white.  The 
designs  throughout  the  rug,  with  the  exception  of 
the  Kulah  stripes,  are  of  strictly  Ghiordez  nature. 
The  inner,  second,  third,  and  outer  narrow  guard 
stripes  carry  the  wavy  line  conceded  to  be  a water 
motif  when  used  by  the  Ghiordez  weavers. 

(See  No.  2186  and  No.  2172.)  [Ao.  339 8 A X 5 A] 


GHIORDEZ  KULAH 

T HIS  rug  serves  as  an  excellent  bridge  upon  which 
to  pass  from  Ghiordez  to  Kulah  products.  In  it 
northern  and  southern  Asia  Minor  influences  meet 
and  find  expression. 

The  prayer  panel  is  laid  in  a higher  tone  of  red 
than  is  ordinarily  found  in  Kulahs  of  this  style,  while 
the  niche  pierces  a field  of  light  blue,  in  which  are 
tan  and  red  flat  flower  forms. 

In  the  main  border  are  lilies  and  pinks  in  profile 
in  red,  blue,  and  yellow  on  a blue  background. 
The  narrow  border  stripes  are  of  strictly  Kulah 
design.  [TVo.  3620 — 6 A x 4.5] 

KULAH 


V ARIANTS  of  design,  commonly  found  in  Kulah 
rugs,  woven  in  shades  of  tan,  green,  light  blue,  and 


Notable 

Antique 

Oriental 

Rugs 


Collection 


Tiffany 

Studios 


The 


RHODIAN  KULAH 


1 HIS  rug  was  made  in  the  Island  of  Rhodes  under 
the  same  influences  that  caused  the  production  of 
the  famous  Rhodian  tiles  and  plates.  It  belongs 
to  the  period  in  which  strong  primary  colors  were 
used,  and  there  are  in  the  designs  motifs  that  have 
been  copied  by  all  the  weavers  of  Asia  Minor,  inde- 
pendent of  locality.  To  the  narrow  stripes  in  rugs 
of  this  general  style,  the  Kulah  weavers  have  looked 
for  suggestion,  while  from  the  squared  design  in 
the  main  border,  the  palmate  flower  with  three 
buds,  the  more  ornate  forms  in  Ghiordez  borders 
evolved. 

In  both  narrow  border  bands  appear  forms 
which  were  adopted  by  Kulah  weavers,  the  ribbon 
meander  in  the  outer  and  the  “shaving”  design 
in  the  inner  stripe. 

Ghiordez  weavers  used  wavy  lines  as  water 
motifs  in  the  guard  stripes  that  separate  the  broader 
ones,  while  Kulah  weavers  were  more  apt  to  use 
straight  lines. 


RHODIAN  KULAH 
No.  2G48]  [4 .6x3.9 


. 


[65] 

Ghiordez  weavers  have  made  use  of  cotton  at  Notable 
various  times  in  their  most  costly  fabrics,  both  as  Antique 
warp  and  for  white  knots  in  the  design.  Kulah  Oriental 
rugs  are  invariably  of  wool.  Rugs 

The  prayer  niche  is  low  in  Kulah  and  high  in 
Ghiordez  rugs.  [No.  2648 — 4.6  x 3.9] 


KULAH  PRAYER  RUG 


Upon  a deep  blue  ground  a tall  tan  colored  plant 
in  tree  form  extends  from  the  apex  of  the  prayer 
niche  to  the  end  of  the  field. 

The  main  border  space  is  filled  with  seven 
narrow  stripes  in  blue,  yellow,  and  blood-red. 

[No.  3679— 6.2  x 3.11 ] 

(See  No.  2 1 86.) 


KULAH  HEARTH  RUG 


Upon 


an  inner  panel  of  superb  blue  are  laid  seven 
jardinieres  in  tan  color  filled  with  eight-petaled 
blossoms  of  the  same  shade  as  the  flowers  that  or- 
nament the  outer  field  of  lighter  blue,  upon  which 
the  serrated  central  panel  of  dark  blue  is  laid. 

The  outer  border  and  the  two  narrow  borders 
on  either  side  of  the  broad  border  are  distinctively 


The 

Tiffany 

Studios 

Collection 


[66] 

Kulah  features,  as  well  as  the  arrangement  of  blos- 
soms in  blue,  tan,  and  yellow  on  a white  background 
in  the  main  border.  Occasional  dashes  of  blood- 
red  appear  throughout  the  rug.  These  are  highly 
prized  by  the  connoisseur,  who  looks  for  them  as 
one  does  for  the  ever  present  white  horse  in  the 
paintings  of  Wouverman.  [No.  2018 — 5.5  x 3.10] 


KULAH  PRAYER  RUG 


Soft  tans  and  blues  with  darker  contrasting 
shades  and  tones  are  so  harmoniously  blended  in 
this  old  prayer  rug  as  to  make  it  a worthy  com- 
panion to  the  hearth  rug  (No.  2018)  of  similar  color 
and  weave.  [TVo.  2623 — 5.7  x 3.7 ] 


KULAH  RUG 


jAl  SERIES  of  rude  archaic  designs  are  symmetri- 
cally arranged  in  the  prayer  panel,  which,  with  a 
very  low  niche,  pierces  a yellow  field,  in  which  are 
tan,  blue,  and  brown  floral  forms. 

Tan  and  blue  flowers  outlined  in  brown,  with 
an  occasional  touch  of  deep  red,  fill  the  broad  border 
stripe  on  each  side  of  which  are  narrow  bands  with 
typical  Kulah  designs.  [TVo.  2644  — 5.2x3.11 ] 


KULAH  HEARTH  RUG 
No.  2018]  [ 5.5x3.10 


[67] 

KULAH  PRAYER  RUG 


Upon 


a prayer  panel  of  beautiful  tan  color  are 
jardinieres  and  flowers  in  deeper  tans  and  blue. 

The  prayer  niche  is  very  low  and  rests  upon  a 
superb  blue  field  in  which  is  a repeat  design  based 
on  a floral  motif. 

Between  two  narrow  typical  Kulah  borders  is 
a most  harmonious  broad  border  band  in  which 
upon  a white  ground  the  Kulah  “fleck”  design 
appears  in  varying  shades  of  yellow,  blue,  dark 
brown,  tan,  and  hay  color. 

It  is  interesting  to  note  the  changes  in  this  broad 
border  pattern  from  the  profile  flower  design  in 
rug  No.  2644. 

[No.  2636  — 5.9  x 3.10] 


Notable 

Antique 

Oriental 

Rugs 


A GROUP  OF  NINETEENTH  CENTURY 
KULAH  RUGS 

In  this  interesting  group  of  nineteenth  century 
Kulahs,  heavy  but  fine  quality  wool  has  been  used 
for  warp,  woof,  and  pile. 

The  introduction  of  foreign  motifs  in  some  of 
the  border  designs  is  noticeable.  These  designs 


The 

Tiffany 

Studios 

Collection 


are  worked  in  strong  shades  of  yellow,  apricot  color, 
tan,  and  blue,  with  an  introduction  in  No.  81  of 
cerise  [/Vo.  2184  — 6.8  x 4.2] 

[No.  3477  — 5.3  x3.9] 
[No.  81  — 6.1  x 4.2] 


KULAH  HEARTH  RUG 

In  this  “hearth  rug,”  indicated  to  be  such  by  the 
pointed  ends  of  the  central  panel,  the  colors  are 
most  subdued  and  harmonious. 

Eight  ewers,  with  balancing  floral  forms  on 
either  side,  completely  fill  the  panel,  which,  sur- 
rounded by  a narrow  white  border,  rests  upon  a 
light  blue  flower-strewn  field. 

Except  in  the  inner  and  outer  stripes  there  are 
no  exclusively  Kulah  designs  in  the  borders. 

[No.  2646  — 6.7  x 4.3] 

(See  No.  332) 


KULAH  PRAYER  RUG 


Eight  ewers  resting  upon  a field  of  light  green 
furnish  with  plant  and  tile  forms  the  scheme  of 
decoration  for  the  prayer  panel.  The  niche,  sur- 


GHIORDEZ  PRAYER  RUG 
No.  3785]  [(j.llxU.U 


[69] 

rounded  by  a variant  of  the  wave-crest  design,  pene- 
trates a light  blue  held  in  which  are  large  floral 
forms  in  deep  tan  color. 

The  panels  at  top  and  bottom  of  the  held  are  of 
still  darker  blue,  and  the  flowers  are  larger  than 
elsewhere  in  the  design. 

The  broad  border  in  shades  of  blue,  yellow,  and 
tan,  with  one  deep  accentuating  blood-red  stripe 
around  its  outer  edge,  is  of  Ghiordez  design. 

[No.  332  — 6.8  x 4.4] 


GHIORDEZ 


Greenish  tan  prayer  panel  powdered  with  the 
heck  design,  in  brown  and  white,  often  found  in  old 
Kulah  borders. 

Interesting  comparisons  may  be  made  by  studying 
Nos.  3683,  368 1,  and  368^  with  this  rug,  as  the 
borders  are  all  of  traditional  Ghiordez  nature  and 
of  exceptional  interest.  [/Vo.  3680  — 4.7  x3.9] 


GHIORDEZ 


Field  of  tan  color  with  space  above  the  prayer 
niche  filled  with  stripes  of  red  and  blue  bearing 


small  floral  forms. 


Notable 

Antique 

Oriental 

Rugs 


The 

Tiffany 

Studios 

Collection 


The  inner  and  outer  borders  are  divided  by  a 
wide  main  border,  showing  the  Rhodian  lily,  in 
alternation  with  other  plant  motifs,  in  shades  of 
blue,  green,  and  red  on  a cream  ground. 

[No.  3681  — 5.5  x 4] 


GHIORDEZ  PRAYER  RUG 


Field 


of  deep  cream  with  space  above  the  prayer 
niche  filled  with  conventionalized  floral  motifs  in 
red  and  white  upon  a dark  tan  ground. 

The  general  color  effect  of  the  borders  of  this 
rug  is  red,  favoring  Melhaz  and  Ladik  variations  in 
tone.  [No.  3787  — 5.6  x 4.2] 


GHIORDEZ  PRAYER  RUG 


Pastel  colors  predominate  in  this  Ghiordez 
prayer  rug,  the  cream  panel  giving  great  delicacy, 
and  the  shades  of  tan  and  hay  color  being  so  well 
distributed  through  the  borders  that  in  the  main 
the  effect  is  very  light,  though  blue,  green,  and  red 
appear  in  soft  tones. 


[No.  3785—  6.11  x 4.4] 


GHIORDEZ  PRAYER  RUG 
No.  3787]  [5.6  x 4.2 


[ 7 1 ] 

A GROUP  OF  ASIA  MINOR  RUGS 

These  four  rugs  illustrate  the  fact  that  the  weav- 
ings of  Asia  Minor  bear  strong  resemblance  to 
each  other.  Only  when  characteristics  are  so 
pronounced  as  to  he  recognized  at  a glance  as 
true  to  local  tradition  should  rugs  he  considered 
as  types  and  given  special  names,  while  those 
in  which  motifs  of  design  have  been  borrowed 
from  many  different  sources  should  be  more  broadly 
classified. 


Notable 

Antique 

Oriental 

Rugs 


No.  2621  is  a Melhaz  rug.  In  it  the  prayer 
panel  and  borders  in  color  and  ornamentation  are 
true  to  local  style,  making  this,  in  weave,  color 
distribution,  and  design  a type  rug. 

The  narrow  borders  on  either  side  of  the  broad 
border,  and  the  bounding  of  the  floral  forms  in  the 
broad  border  with  the  S motif  on  top,  bottom,  and 
sides,  are  Melhaz  features. 


In  No.  2 1 35,  which  might  ordinarily  be  consid- 
ered a typical  Melhaz  rug,  we  find  that  the  prayer 
panel  and  its  ornament  constitute  the  only  strictly 
Melhaz  characteristics . 

In  No.  2975  the  weaving  itself  shows  Bergama 
features,  and  the  violet  in  the  broad  border  is 
unusually  fine. 


The 

Tiffany 

Studios 

Collection 


In  No.  333  the  color  tones  are  high,  and  yellow, 
blue,  green,  cherry,  and  violet  are  given  equal  value 
in  the  design,  which  is  nondescript. 

Melhaz  [No.  2621  — 4.6  x 3.6] 

Anatolian  [No.  2135  — 4.4  x 3.4] 

Bergama  [No.  2975 — 6 x 4 .1] 

Anatolian  [TVo.  333 — 5.1  x3.10 ] 


FOUR  KIR-SHEHR  PRAYER  RUGS 

These  four  rugs  give  excellent  opportunity  for 
study  and  comparison.  In  them  the  features  that 
distinguish  the  Kir-Shehr  products  are  pronounced 
and  absolute,  as  well  as  the  jewel  and  mosaic  effects, 
which  are  unexcelled  in  any  other  woven  fabrics. 

The  four  rugs  make  two  pairs,  one  pair  having 
red  prayer  panels,  the  other  yellow.  Blue  and 
green  in  several  shades,  violet  of  superb  tone,  and 
corrosive  black  and  brown  are  the  other  colors 
employed. 

The  broad  border  design  adheres  absolutely  to 
Kir-Shehr  style.  In  the  centre  of  each  square  in 
the  design  is  a small  rosette  about  which  is  drawn 
an  eight-pointed  star.  Rhomboids  of  another  color 
enlarge  the  star  form,  which  rests  upon  a yellow 
lozenge,  which  in  turn  is  enlarged  by  corner  deco- 
rations into  a square  which  fills  the  border  in  width. 


KIR-SHEHR  PRAYER  RUG 
No.  2229]  [5.4  a;  4.6 


I 


[73] 

These  tile  forms  extend  one  after  another  through 
the  main  border. 

The  prayer  panels  are  edged  with  profile  pinks, 
and  these  floral  forms  extend  from  each  angle  in 
the  serrations  of  the  niche  as  well. 

The  ornamentation  along  the  sides  and  top  of 
the  field  penetrated  by  the  prayer  niche,  as  well  as 
the  design  in  the  oblong  panel  above  the  field  itself, 
are  Kir-Shehr  peculiarities. 

[No.  2166  — 5.9  x 4] 
[Vo.  2640  — 5.4x3] 
[Vo.  2204 — 5.6  x 4.5] 
[Vo.  2229  — 5.4  x 4.6] 


LADIK 


1 HIS  is  a type  rug  of  great  beauty  and  softness 
of  color. 


Rhodian  lilies  in  shades  of  tan,  red,  and  blue 
alternating  with  rosettes  are  wrought  on  a golden 
yellow  ground  in  the  broad  border  stripe. 

The  central  panel  is  of  rare  red  with  serrated 
niche  penetrating  the  space  above,  which  is  of  royal 
blue  color. 

Below  the  prayer  panel  is  a well-known  Ladik 
design  consisting  of  formal  upright  plant  forms  ter- 
minating in  Rhodian  lilies  or  tulips. 

[No.  2405—5.7  x 3.8] 


Notable 

Antique 

Oriental 

Rugs 


The 

Tiffany 

Studios 

Collection 


[74] 

BERG AM A 

Central  panel  of  light  red  ornamented  with 
small  diamond  of  green  edged  with  conventionalized 
floral  rosettes. 

The  corner  spaces  beyond  the  diamond  form  are 
two  of  them  of  topaz  color  and  two  of  sapphire 
blue. 

Between  two  narrow  borders  the  main  border 
stripe,  of  an  iridescent  bluish  green,  is  ornamented 
with  semi-floral  rosette  forms. 

[No.  2120— 4x4.2] 

BERG AM A 

jAl  RUG  of  Asia  Minor  showing  the  influence  of 
enamellers  and  stained-glass  workers  upon  weavers 
who  produced  in  their  fabrics  a combination  of 
primary  colors  unsurpassed  in  quality  and  excellence. 

[No. 2215—9.4x6.8] 


BERG AM A 

Medallion  and  pendants  of  jade  green  bear 

floral  ornamentation  in  soft  shades  of  yellow  and 
blue.  Corner  spaces  are  laid  in  light  blue,  and  the 


L AD  I K 

No.  2405]  [5.7  .r  3.8 


cartouche  forms  in  the  main  border  stripe  are 
carried  on  a soft  golden  yellow  ground. 

[No.  2212—  11.3x6.8] 


BERG  AM  A 

Luminous  red  ground  with  central  medallion 
and  corners  of  light  blue.  A lustrous  gem-like 
quality  about  the  colors  employed  carries  out  the 
tradition  that  rubies,  sapphires,  topazes,  and 
emeralds  furnished  the  color  schemes  for  the 
weavers  of  western  Asia  Minor. 

* [No.  2200—9.6  x 6.9 ] 


GUENDGE  RUG 


1 HIS  rug  in  strong  primary  colors  coarsely  woven 
is  a shepherd  rug  of  the  Lake  Gotcha  district.  The 
design  is  of  crude  nature.  A large  outline  form  in 
yellow  edged  with  blue  fills  the  field,  which  is  of 
rich  red.  Within  each  end  of  this  form  is  a green 
figure,  and  in  the  centre  an  eight-sided  oblong 
medallion  surrounded  by  a series  of  shepherds’ 
crooks.  In  the  centre  of  the  medallion  on  a dark 
blue  ground  are  six  animals  crudely  drawn.  Stars 


Notable 

Antique 

Oriental 

Rugs 


[76] 

The  and  many  small  animals,  presumably  sheep,  are 
Tiffany  scattered  over  the  field  of  this  nomad  product. 
Studios  [TVo.  3563  — 6.8  x 3.4] 

Collection 

FLORENTINE  SANCTUARY  RUG 
XVI  CENTURY 

Rugs  similar  to  this  most  unusual  specimen 
were  made  in  Italy,  Spain,  and  Portugal  in  the 
sixteenth  century,  with  the  idea  of  producing  piled 
fabrics  more  or  less  like  Oriental  rugs.  The  pile 
is  like  a fringed  braid  and  is  sewn  in  a pattern 
upon  linen. 

The  design  suggests  the  old  majolica  of  the 
period,  in  the  making  of  which  potters  employed 
hut  few  colors. 

The  ground  of  the  entire  rug,  both  field  and 
border,  is  laid  in  a mellow  tone  of  yellow,  upon 
which  are  scrolls  and  crudely  drawn  flower  forms 
in  shades  of  blue  and  green,  with  high  lights  in 
lemon  yellow.  At  either  end  of  the  field  are  large 
vases  holding  tulips  of  exaggerated  size. 

This  is  a veritable  sanctuary  rug,  made  as  gift  to 
some  cathedral,  where  it  has  been  preserved  through 
the  centuries.  It  is  most  unusual  to  find  fabrics  of 
this  style  which  have  not  yielded  to  the  ravages 
of  time,  fragments  only  remaining  in  the  museums 
of  Europe.  [No.  3625—13.5x9 ] 


DAMASCUS  CALIPHATE  RUG 
No.  3618]  [6.2  x 4.5 


[77] 

DAMASCUS  CALIPHATE  RUG 

Tf HIS  is  a star  worshippers’  rug,  and  the  design 
which  adorns  it  is  of  Mesopotamian  origin.  The 
three  colors  are  used  symbolically  — red  for  day, 
blue  for  night,  and  green  for  holiness. 

Calculations  were  made  by  astronomers  and 
Magi  of  the  East,  by  the  use  of  geometric  forms 
similar  to  those  found  in  the  design.  “In  the 
large  star  medallion  are  fir  and  palm  leaves,  symbol- 
izing everlasting  life  and  the  principle  of  renewal. ” 

Arrow-like  heads  point  to  the  four  cardinal 
directions.  Other  elements  of  the  design  are  dia- 
mond-shaped stars  and  instruments  and  tables  for 
reckoning.  On  the  outer  border  are  twelve  green 
cartouches  or  panels  for  the  zodiac. 

[No.  3615  — 7.11  x 7. 5] 


Notable 

Antique 

Oriental 

Rugs 


DAMASCUS  CALIPHATE  RUG 
XIV  CENTURY 

The  Geld,  central  panel,  and  borders  are  of  inter- 
mingled red,  green,  and  blue. 

The  upper  and  lower  oblong  panels  have  a design 
of  date  trees,  proGle  flower  motifs  in  tree  form, 
and  the  pine  tree  of  life. 


[78] 

The  In  the  central  panel  an  Arabesque  geometrical 
Tiffany  design  is  laid  on  a field  of  green,  and  the  Arabesque 
Studios  medallions  in  the  border  are  placed  on  a blue 
Collection  ground. 

[No.  3618  — 6.2x4.5 ] 


SARACENIC  RUG 

-Al  MINGLING  of  designs  that  only  Saracenic 
conquest  and  culture  could  have  placed  at  the  dis- 
posal of  Spanish  weavers  is  shown  in  this  rug  in 
shades  of  red,  green,  yellow,  and  light  blue. 
Persian  motifs  carried  into  Europe  during  the  early 
Mohammedan  era  were  there  influenced  by  Gothic 
styles.  On  the  looms  of  Cordova  and  Madrid  these 
mingled  designs  were  woven  for  sanctuary  and 
palace  use. 

[No.  3621—8x5.8] 


MOORISH  RUG 


The  color  scheme  in  this  rug  is  typically  Moor- 
ish, although  there  is  a likeness  in  the  general  effect 


MOORISH  RUG 
No.  3G22]  [5.6x4 


[79] 

to  rugs  of  western  Asia,  Laodicea,  and  the  Island 
of  Rhodes.  Red,  blue,  yellow,  green,  black, 
and  cream  color  appear  in  tones  and  shades 
quite  different  from  any  Persian  or  Turkish  use 
of  them. 

The  preparation  of  the  wool,  both  for  warp  and 
woof,  is  after  Moorish  methods,  and  Arabic  pecul- 
iarities are  noticeable  in  both  design  and  weave. 

Each  cartouche  holds  a single  Gothic  floral  form . 
The  Hamadan  rendering  of  the  reciprocal  trefoil  is 
woven  in  black  and  red  in  one  of  the  small  borders, 
while  the  eight-pointed  Moslem  star  adorns  the 
inner  stripe. 

[No.  3622  — 5.6  x 4] 


SANCTUARY  RUG 


Gr 


[YEN  as  votive  offering  to  some  cathedral  in 
Spain,  this  embroidery  testifies  to  the  allegiance  of 
the  donor  to  the  royal  Castilian  colors, — azure  and 
yellow. 

The  design  in  the  field  is  copied  directly  from 
sixteenth  and  seventeenth  century  Oriental  rugs, 
but  the  border  shows  European  influence  and  early 
renaissance  scrolls. 

[No.  3608—8.7  x 4.10] 


Notable 

Antique 

Oriental 

Rugs 


(Compare  stitch  with  No.  36n.) 


[So] 


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Collection 


INDO-PORTUGUESE  EMBROIDERY 

T HIS  copy  of  an  East  Indian  embroidery  in  two 
shades  of  red,  two  of  blue,  and  soft  tints  of  light 
and  dark  brown  and  green  was  undoubtedly  made 
either  in  Spain  or  Portugal  in  the  seventeenth 
century. 

The  stitch  employed  is  one  that  was  used  later 
on  canvas  in  a more  regular  way  than  was  possible 
on  this  coarse  linen  foundation. 

Years  have  given  to  the  colors  a matchless 
charm.  [No.  3611  — 4.8 x 6.5 ] 


CHINESE  RUGS 


CHINESE  RUGS 
A KNOWLEDGE  of  the  art  of  China 

as  applied  to  pottery,  porcelain,  enamels, 
and  various  of  the  handicrafts  has  been 
acquired  of  late  years.  It  is  now  no  longer 
a matter  of  speculation  when  the  various 
styles  were  introduced,  but  of  fact. 

The  textiles  of  China  may  be  grouped 
in  the  same  way  as  the  porcelains,  for  the 
same  impulses  developed  the  one  as 
the  other.  China’s  relation  to  the  rest  of 
the  world  brought  about  changes  in  na- 
tive styles,  and  the  unsettled  condition  of 
the  empire  itself  caused  the  development 
of  art  in  one  portion  while  it  languished 
in  another.  A knowledge  of  the  inter- 
relation of  nations  makes  it  possible  to 
trace  the  subtle  external  influences  which 
marked  the  art  of  China. 

Over  one  thousand  years  ago  Arab 
traders  visited  China,  and  protection  has 
been  granted  Moslems  by  different  Chinese 


The 

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[84] 

emperors  all  through  the  centuries.  Thus 
it  may  readily  be  seen  that  Arab  influences 
entered  the  south  of  China  and  that  com- 
modities were  exchanged  at  a very  early 
date.  Overland  too  these  same  zealous 
traders  forced  their  way  and  carried  from 
West  to  East  the  symbols  and  emblems 
of  their  faith. 

From  India,  Buddhism  influenced  both 
directly  and  indirectly  the  art  of  the  south 
of  China,  where  Buddhist  ornament  is 
found  in  very  early  specimens  of  weaving. 
Thibet  always  having  shown  an  independ- 
ent handling  of  the  religion  of  Buddha 
has  given  to  the  “elder  brother”  coun- 
try its  own  special  ornament  with  the 
tribute  rendered. 

Mongol  tyranny  under  Genghis  Khan 
(twelfth  century)  and  Tamerlane  (four- 
teenth century)  brought  with  it  symbolism 
of  a different  sort  which,  from  time  to 
time,  has  swept  with  resistless  force  over 
the  entire  empire. 

It  is  customary  to  begin  the  classifica- 
tion of  Chinese  rugs  with  the  Great  Ming 


[85] 

(illustrious)  dynasty,  when  the  arts  were 
patronized  and  developed  by  royalty  and 
the  wealthy  classes. 

The  founder  of  the  Ming  dynasty  was 
a native  of  China,  and  a Buddhist  who 
endeavored  to  emancipate  his  fellow  coun- 
trymen from  Taoist  superstition  (which  had 
prevailed  under  the  preceding  or  Yuan  dyn- 
asty) and  to  establish  Buddhist  reforms. 

The  ornate  character  of  Buddhist  art 
enriched  early  Ming  designs  with  floral 
forms,  and  the  lotus,  peony,  and  the  tea 
flower  were  embroidered  on  robes,  painted 
on  porcelains,  and  woven  in  rugs.  Gold 
and  silver  in  decoration  led  to  the  enrich- 
ment of  floor  coverings  and  tapestries, 
so  that  in  the  southern  capital  and  in  the 
homes  of  wealthy  mandarins  were  to  be 
found  textiles  showing  designs  in  relief 
upon  gold  and  silver  backgrounds.  These 
fabrics  became  so  sumptuous  and  mag- 
nificent that  finally  under  late  Ming  influ- 
ences they  reached  their  height  and  gave 
inspiration  to  Europe  as  well  as  various 
parts  of  the  Orient.  Polish  carpets  among 


Notable 

Antique 

Oriental 

Rugs 


[36] 

The  others  were  inspired  during  the  fifteenth 
Studio-  an<^  sixteenfh  centuries  by  the  metal  rugs 
Collection  of  the  Ming  dynasty. 

The  forces  then  that  made  Ming  prod- 
ucts what  they  were  are  easily  recognized : 
a high  state  of  cultivation  within  the 
empire  itself  and  the  influx  of  ideas  from 
without  which  taught  shadow  and  per- 
spective and  altered  far  more  than  one 
would  at  first  imagine  the  traditional  art 
of  China  itself. 

The  struggle  for  supremacy  between 
southern  culture  and  Mongolian  force  re- 
sulted in  a long  period  of  inaction  early 
in  the  seventeenth  century,  followed  by 
an  awakening  in  the  north,  due  to  the 
establishing  in  Peking  of  the  Manchu 
dynasty  with  K’ang-hsi  the  first  ruler  of 
note  (1662-1  722).  Intent  upon  making 
use  of  all  existing  good,  he  gathered  at 
his  capital  those  who  could  help  him 
to  bring  to  perfection  the  arts  of  the 
empire. 

The  Jesuit  missionaries  assisted  in 
acquainting  him  with  a knowledge  of  the 


Notable 

Antique 

Oriental 

Rugs 


aged  his  enthusiasm. 

It  is  recorded  in  the  annals  of  the 
empire  that  the  enamels  of  France  which 
had  been  sent  to  the  Manchu  emperor  by 
Louis  XIV  excited  great  admiration  and 
stimulated  Chinese  art  to  a noticeable 
extent. 

Father  Ricci,  the  Jesuit  scientific  court 
adviser,  who  had  been  instrumental  in 
providing  the  Ming  emperors  with  artists, 
initiated  the  Chinese  in  Western  methods 
of  decoration,  and  schools  were  estab- 
lished in  various  parts  of  China  during 
the  early  years  of  the  present  dynasty, 
where  Jesuit  priests  furnished  models  for 
art  workers. 

K’ang-hsi  was  emperor  for  sixty  years  — 
from  1662  to  1722 — and  styles  Indian,  Per- 
sian, Thibetan,  and  Mohammedan  have 
each  contributed  their  share  toward  what 
has  become  a truly  Chinese  style  and 
may  always  be  recognized  as  such. 


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[88] 

Rugs  were  made  more  universally  dur- 
ing the  K’ang-hsi  period  in  China  than  they 
had  been  before,  though  the  products  of 
Ming  have  never  been  excelled. 

During  the  reign  of  Yung-ch^ng  a 
definite  method  was  adopted  of  showing 
in  weaving  the  ribbed  effects  that  were 
being  produced  in  porcelains  of  the  period 
and  in  Peking  enamels. 

In  the  Kien-lung  period  the  use  of  red 
and  blue  favoring  Thibetan  suggestion 
marked  that  era  with  a special  peculiarity. 


Sung  dynasty  .... 

A.  D. 

Yuan  dynasty  .... 

I26o-i349 

Ming  dynasty 

Yung-lo 

i4o3-i424 

Hsuante 

i426-i435 

Ch’enghwa  . 

i465-i487 

Ch’engte 

i5o6-i52i 

Wanli  .... 

1573-1629 

T’ching  dynasty 

K’ang-hsi  . 

1662-1722 

Yung-cheng 

1723-1735 

Kien-lung  . 

1736-1796 

(Chienlung) 

Chiach’ing  . 

. . 1796-1820 

Taokuang  . 

1820-1850 

[89] 

MANDARIN  RUG 
MING  DYNASTY,  1368-16^9 

SHOWING  floral  and  fret  designs  traced  in  relief 
in  three  colors — -yellow,  blue,  and  red — upon  metal 
background  in  the  style  of  the  sixteenth  century 
rugs  of  the  Ming  dynasty. 

Both  gold  and  silver  are  used  in  the  threads 
with  which  in  typical  stitches  the  flat  surface  of  the 
metal  background  is  made. 

Polonaise  textiles,  noted  and  rare,  were  inspired 
by  these  mandarin  fabrics.  [No.  3659 — 3 x 3] 


Notable 

Antique 

Oriental 

Rugs 


CHINESE  RUG 


IT  is  related  that  the  Emperor  K’ang-hsi,  while 
journeying  with  Father  Gerbillon  in  1697,  visited 
Ning-hsai,  where  they  presented  to  him  rugs  re- 
sembling “Turkey  carpets.”  These  so  interested 
the  emperor  that  he  asked  to  have  the  work  done 
in  his  presence,  that  he  might  note  how  the  pile 
was  made.  Whether  or  not  at  that  time  the  rugs 
of  Peking  were  made  in  the  same  way  is  not  told 
us,  but  the  coarse  carpets  of  Ning-hsai  have  char- 
acteristics that  have  differentiated  them  somewhat 
from  other  Chinese  rugs,  and  many  believe  that 


The 

Tiffany 

Studios 

Collection 


rug-making  in  China  originated  in  that  district, 
though  the  art  of  making  pile  carpets  was  carried 
into  China  by  the  Mohammedans  and  is  not  a native 
art.  [No.  2674— 3.4x2] 


CHINESE  — XVII  CENTURY 

The  great  and  good  Shah  Abbass  closed  his  reign 
in  Persia  in  1628,  Akbar  in  India  in  i6o5.  Both 
of  these  men  had  stimulated  the  arts  of  their 
own  country  during  the  sixteenth  century  to  a 
high  degree  of  excellence.  Artists  from  China 
went  to  Persia  and  India  at  the  bidding  of  these 
great  art  lovers,  and  during  the  later  years  of  the 
Ming  dynasty  Chinese  art  bore  evidence  of  the 
mingling  of  foreign  with  native  ideas. 

The  early  Chino-Persian  Ming  styles  partake 
more  of  the  formal,  stiff,  radiating,  compartment 
nature  of  the  ornamentation  of  tiles  and  pottery 
than  those  developed  later,  when  flowing  vine  effects 
became  less  uncommon  and  Chinese  artists  endeav- 
ored to  copy  the  main  characteristics  of  Persian 
foliate  decoration,  though  substituting  native  flower 
forms  in  conventional  designs. 

The  efforts  made  by  the  Emperor  K’ang-hsi  early 
in  the  present  dynasty,  in  the  latter  part  of  the 
seventeenth  century,  to  establish  relations  with 


MANDARIN  RUG  — MING 
DYNASTY,  i 368- 1 649 
No.  3659]  [3x3 


[9,] 

Western  potentates  led  to  the  introduction  and 
perpetuation  of  these  foreign  styles,  and  as  they 
were  not  easily  comprehended  by  native  artisans, 
artists  were  established  at  court  to  elaborate  these 
new  designs,  methods,  and  styles. 

In  this  rug,  arrangements  of  foliated  scrolls  are 
forced  into  formal  divisions,  radiating  from  medal- 
lions composed  of  varying  forms  of  the  longevity 
fungus.  The  object  in  the  centre  of  each  medal- 
lion is  a foreign  motif  and  unrelated  to  Chinese 
ornament.  [TVo.  3457 — 5.10  x 3.8] 


Notable 

Antique 

Oriental 

Rugs 


MANCHURIAN  RUG 

ThE  weave  of  this  rug  is  known  as  Manchurian, 
and  differs  slightly  from  other  Chinese  weaves  in 
that  the  knots  are  more  closely  packed  by  the  woof 
threads  than  in  either  Shantung  or  Tsin-tsin  rugs, 
and  there  is  a difference  in  the  spinning  of  the 
cotton  used  for  warp  and  woof,  which  gives  a 
tighter  quality  to  the  finished  product. 

Manchurian  rugs  belong  to  the  present  T’ching 
dynasty,  and  were  made  for  the  Tartar  rulers  who 
conquered  China  in  the  seventeenth  century. 

Under  K’ang-hsi,  the  first  notable  emperor  of 
the  line  (1662-1722),  the  arts  were  highly  devel- 
oped, and  weavers  were  brought  to  Peking  from 


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[92] 

outlying  districts,  who  wove  both  native  and  Tartar 
designs  in  the  fabrics  accepted  by  the  court  rulers 
for  temple  and  palace  use. 

This  is  a seventeenth  century  design  in  which 
the  evolution  from  the  archaic  dragon  to  the  geo- 
metric form  based  upon  it  is  clearly  demonstrated 
in  the  border  as  well  as  in  the  eight  discs. 

In  the  inner  border  stripe  appear  sacrificial  jars 
and  vases  each  bearing  a significant  and  emblematic 
design  — the  swastika  — knot  of  destiny  — tae-kieh 
(yang  and  yin)  and  other  emblems. 

[No.  3645  — 9. 6x5. 4] 


MANCHURIAN  RUG— STYLE  YUNG- 
CHfiNG,  PERIOD  1723-1735 


The  shades  of  brownish  red  that  appear  in  this 
rug  antedate  the  lighter  apricot  tints  that  prevail  in 
Kien-lung  and  later  specimens  of  weaving  during 
the  first  century  of  Tartar  rule  in  China.  The 
method  of  outlining  in  ribbed  effect  is  a Yung-ch£ng 
feature  and  suggests  the  enamel  work  brought 
to  perfection  by  the  artists  of  the  middle  of  the 
eighteenth  century. 

Upon  a swastika  fretwork  of  golden  yellow 
are  cloud  and  fire  forms  in  shades  of  fawn,  red, 
and  blue,  with  bats  as  emblems  of  happiness  dis- 


MANCHURIAN  RUG 
No.  3GUb  ] [9.6  x 5.4 

Illustration  shows  length 


. 


[93] 

tributed  over  the  field.  An  effort  at  vine  effect  in  Notable 
the  border  testifies  to  the  influence  of  Persian  art,  Antique 
which  at  this  time  greatly  influenced  native  Chinese  Oriental 
design.  [No.  3646  — 11  x 5.6]  Ru9s 


CHINESE  RUG — KIEN-LUNG 

Chinese  rugs,  in  which  the  colors  light  and 

dark  red,  light  and  dark  blue,  cream  color,  yellow 
and  natural  wool  brown,  make  an  interesting  study 
by  themselves  as  Kien-lung  products.  In  some 
rugs  red  and  blue  predominate,  in  others  red  and 
cream,  with  blue  relegated  to  subordinate  rank. 

There  seem  to  have  been  made  a vast  number 
of  rugs  of  this  coloring  and  general  style  of  orna- 
mentation after  the  accession  of  Kien-lung  in  the 
middle  of  the  eighteenth  century.  He,  the  grand- 
son of  K’ang-hsi,  added  Turkestan  to  the  Chinese 
empire,  and  rugs  were  made  all  through  that  dis- 
trict and  sent  to  Peking  as  tribute.  Very  many 
of  these  rugs  show  Indo-Persian  influence,  others 
carry  Buddhist  and  Thibetan  designs,  while  in  some 
the  decoration  is  strictly  Mongolian. 

Examination  of  the  web  of  rugs  of  this  style 
and  period  indicates  the  use  of  a coarse  cotton  warp 
and  colored  woof  of  dark  wool,  which  is  carried 
two  or  three  times  between  each  two  rows  of  knots, 


The 

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[94] 

and  sometimes  changes  from  dark  to  light  at  inter- 
vals. The  whole  fabric  is  more  compactly  woven 
than  other  Chinese  rugs,  and  is  easily  identified, 
even  when  colored  cotton  woof  is  used  instead  of 
wool.  [No.  3747  — 8.10  x 4.3] 


CHINESE—  KIEN-LUNG  PERIOD 

The  designs  of  the  Kien-lung  period  ( 1 735— 
1795)  show  the  influence  of  Persian,  Indian,  and 
European  styles. 

Though  Persian  influence  has  been  felt  at  vari- 
ous times  in  the  ornament  of  China,  there  are  two 
styles  that  have  forced  themselves  more  than  any 
others  upon  the  weavers  of  rugs.  The  first  of 
these  dates  from  the  beginning  of  the  present 
dynasty  and  continued  through  the  entire  reign  of 
K’ang-hsi  (1662-1722),  during  which  time  an  at- 
tempt at  formalism  introduced  radiating  designs 
and  the  forcing  of  foreign  motifs  into  compart- 
ments. The  second  style  shows  the  development 
of  scroll  and  foliate  ornamentation  during  the 
eighteenth  century,  under  the  fostering  care  of 
imperial  artists. 

The  foliate  patterns  in  Chinese  art  are  based  on 
the  lotus,  fungus,  and  other  floral  forms,  which 
supply  the  motifs  used  in  conventional  scroll 
designs.  [No.  3460— 6 .10  x 3.3] 


KIEN-LUJNG  rug 

No.37U8\  [0 .3x3. b 


[9&]  

CHINESE  RUG 

SHOWING  the  second  period  of  Persian  influence 
in  Chinese  floral  scroll  design.  Exactly  this  treat- 
ment is  not  found  in  fabrics  made  in  China  prior 
to  the  reign  of  Kien-lung  (1735-1795). 

Well-distributed  lotus  blossoms  and  buds,  with 
leaf  foliations  in  green  upon  a background  of  dark 
blue,  fill  the  entire  field.  The  borders  bear  strictly 
Chinese  designs,  a dark  blue  swastika  fret  on  a 
cream  ground  in  the  broad  border,  and  the  octagon 
in  green  enclosing  pink  floral  form  in  the  inner 
border. 

[No.  3648—10.8x6 ] 


KIEN-LUNG  RUG 


With  the  idea  of  adding  importance  to  the  rugs 
made  for  the  Manchurian  sovereign  and  his  repre- 
sentatives, the  high-class  mandarins,  weavers  were 
lavish  in  their  use  of  meaningful  ornamentation  dur- 
ing the  latter  part  of  the  eighteenth  century. 

Both  design  and  weave  of  this  specimen,  with 
numberless  earmarks  easily  detected  by  analysis, 
prove  this  fabric  to  belong  to  the  Kien-lung  period. 

[No.  3746— 8.5  x 4.3] 


Notable 

Antique 

Oriental 

Rugs 


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Studios 

Collection 


[96] 

KIEN-LUNG  RUG 

An  extremely  well-woven  and  typical  design  of 
the  eighteenth  century  made  in  the  far  western  part 
of  the  Chinese  empire  during  the  reign  of  Kien- 
lung  (i735-i795).  [No.  3748—5.3x3.5] 


CHINESE— SHANTUNG  WEAVE 

Large  and  small  butterflies,  chrysanthemums, 
tea  flowers,  plum  blossoms,  and  sweet  flag,  woven 
in  shades  of  yellow,  blue,  fawn,  and  brown,  are 
strewn  over  the  apricot  colored  field  of  this  rug  in 
the  centre  of  which  is  a single  floral  medallion. 

The  yellow  color  in  the  broad  border  holds  and 
reflects  the  light  most  marvellously,  owing  to  the 
quality  of  the  wool,  which  is  of  superior  fineness 
and  finish. 

The  medallions  found  in  Chinese  textiles,  though 
varying  somewhat,  partake  in  the  main  of  the  nature 
of  the  “ reserves  ” on  porcelain.  Whatever  may  be 
the  character  of  the  all-over  decoration  on  jars  and 
vases,  in  the  medallion  spaces  some  definite  thought 
finds  expression.  While  it  was  more  or  less  easy 
by  pasting  paper  of  different  shapes  on  porcelain 


CHINESE  — SHANTUNG  WEAVE 
No.  36U7  ] [74.6^5.6 

Illustration  shows  \ length, 


[97] 

to  reserve  spaces  daring  the  process  of  decoration, 
it  was  not  so  easy  for  weavers  to  procure  like  results 
and,  therefore,  designs  in  medallions  show  random 
selection  and  are  apt  to  adhere  to  certain  accepted, 
stereotyped,  and  elaborate  patterns,  even  when  great 
spontaneity  is  evinced  in  other  parts  of  the  deco- 
rative scheme  employed.  Oftentimes  when  floral 
styles  are  used  elsewhere  in  the  design  badly  drawn 
mythological  and  chimerical  animals  are  croAvded 
into  the  reserved  medallion  spaces. 

[No.  3647  — 14.6x5.6] 


CHINESE  RUG 


While  the  flora  of  China  shows  many  varieties 
of  bloom,  not  all  flowers  and  plants  have  significance. 
Such  as  are  often  used  and  are  scattered  over  rugs 
either  with  strict  adherence  to  tradition  and  symbolic 
import,  or  in  purely  decorative  fashion. 

As  emblems  of  longevity  the  pine,  peach,  bamboo, 
and  fungus  lead  in  importance  and  are  often  used 
together.  Long  life  is  the  first  of  the  five  hap- 
pinesses. The  others,  in  the  order  of  their  desir- 
ability, are  wealth,  serenity,  love  of  virtue,  and 
peaceful  death.  Five  bats  symbolize  the  happinesses 
and  are  used  to  represent  them. 


Notable 

Antique 

Oriental 

Rags 


The 

Tiffany 

Studios 

Collection 


[ 98] 

As  emblems  of  good  luck,  almond,  narcissus, 
plum,  peach,  and  bell  flower  appear  either  together 
or  singly.  With  power  to  keep  away  demons, 
leaves  of  the  sweet  flag  are  tied  into  bundles  and 
placed  over  beds  and  in  various  parts  of  dwellings, 
and  with  especial  significance,  branches  of  certain 
trees  are  hung  outside  of  doors  to  keep  evil  spirits 
from  entering.  This  latter  custom  prevails  not 
only  in  Asia,  hut  all  through  southern  Europe,  even 
at  the  present  time. 

There  are  eight  kinds  of  magnolia  found  in 
Chinese  design  and  various  forms  of  the  mowtan 
or  tree-peony.  As  emblems  of  the  four  seasons 
are  found  plum  (winter),  peony  (spring),  lotus 
(summer),  and  chrysanthemum  (autumn). 

From  certain  provinces  in  China  special  fruits 
and  flowers  are  sent  to  officials  at  the  New  Year,  and 
in  rugs  woven  in  these  places,  designs  frequently 
have  local  significance.  Persimmons,  mandarin 
oranges,  pomegranates,  and  various  sorts  of  citron, 
with  hydrangea,  narcissus,  oleander,  jasmine, 
azalea,  camelia,  artemisia,  cockscomb,  and  convol- 
vulus, complete  the  list  of  fruits  and  flowers  that 
have  been  most  often  used  in  designs  by  the  weavers 
of  China. 

We  find  in  the  designs  in  this  rug  the  most 
absolute  evidence  of  the  intent  of  the  weaver  to 
convey  the  best  of  good  wishes.  The  flowers  of 
the  seasons  — plum,  peony,  lotus,  and  chrysanthe- 


[99] 

mum  — alternate  with  the  sacred  fungus,  bunch  of 
sweet  flag,  and  pomegranates,  while  among  the  blos- 
soms flit  butterflies,  the  emblems  of  matrimonial 

[No.  2612  — 7.7  x 4.6] 


Notable 

Antique 

Oriental 

Rugs 


CHINESE  RUG 


With  its  apricot  colored  field  strewn  with 
flowers,  this  specimen  of  Shantung  weave  was 
probably  made  early  in  the  nineteenth  century. 

The  use  of  ten  medallions,  the  decoration,  nature 
of  the  ornamentation  in  the  corners,  and  the  elabo- 
ration of  the  flower  forms  themselves  lead  to  the 
conclusion  that  the  weaver  was  quite  familiar  with 
designs  that  had  long  been  used,  and  that  he  chose 
independently  those  which  combined  various  fea- 
tures in  one  scheme. 

Pomegranates,  tea  flowers,  iris,  and  several  vari- 
eties of  lily,  together  with  the  sacred  fruit  known 
Buddha’s  hand’’  ( Citrus  sarcodadylas) , are 


as 


woven  in  blue,  shaded  with  darker  tones,  and  in 
various  other  colors. 

The  blossom  of  the  mowtan  or  tree-peony  highly 
conventionalized  appears  in  the  corners  of  the  field, 
in  the  broad  border,  and  as  balancing  forms  at  the 


The 

Tiffany 

Studios 

Collection 


top,  bottom,  and  sides  of  the  ten  medallions,  which 
break  the  surface  of  the  rug  at  regular  intervals. 

[No.  2669  — H.1  x 6] 


CHINESE  SILK  RUG 

The  location  of  the  weaver  of  this  fabric  can 
readily  he  placed  as  midway  between  Bokhara  and 
China,  for  in  the  design  are  traces  of  Mongolian, 
Thibetan,  and  Turkoman  ornament. 

Floral  forms  are  rendered  in  angular  fashion, 
and  “reserves,”  both  in  circular  and  star  shapes, 
are  scattered  over  the  field.  An  attempt  has  been 
made  in  the  five  discs  to  give  floral  interpretation 
to  chimerical  dragon  forms. 

[No.  3642  — 15  A x 6A0\ 


CHINESE  REG 

Copper  color  and  blue  of  extremely  rare  tones 
are  combined  in  this  fabric. 

Weave,  colors,  geometric  corner  designs,  cen- 
tral medallion,  T border,  and  all  the  other  decoration 
of  the  field  combine  to  make  this  an  unusually  in- 
teresting specimen.  Butterflies  are  used  in  design 
as  emblems  of  happiness  and  matrimonial  bliss. 

[No.  2613—9.8x6.7] 


[ioi] 

MANCHURIAN  MAT 


1 HIS  piece  is  of  interest  because  of  the  appearance 
in  the  border  of  Buddhist  emblems  tied  with  fillets. 
The  use  of  the  fillet  is  frequent  in  Chinese  art.  It 
surrounds  all  sorts  of  sacred  objects  with  a meaning 
not  unlike  that  ascribed  to  the  halo  in  Christian 
art.  It  is  used  in  China  not  only  in  connection 
with  gods,  goddesses,  and  saints,  but  to  denote  the 
emanation  from  any  object  of  its  sacred  and  bene- 
ficial properties.  The  power  to  shed  abroad  radi- 
ance, healing,  intelligence,  or  attributes  of  any  kind 
is  typified  by  the  fillet. 

The  “knot  of  destiny”  alone  of  the  four  emblems 
found  in  the  border  is  sufficiently  well  known  to 
be  easily  distinguished.  The  fretwork  in  the  de- 
sign is  made  up  of  chimerical  animal  forms  which 
antedate  the  more  strictly  geometric  corners  used 
by  later  weavers. 

[No.  3654—2.4x2.3] 

(See  No.  26i3.) 


Notable 

Antique 

Oriental 

Rugs 


CHINESE  MAT 

A SEVENTEENTH  CENTURY  design  has  been 
copied  in  this  fabric  of  later  date.  The  evolution 


The 

Tiffany 

Studios 

Collection 


from  the  archaic  dragon  to  the  geometric  form 
based  upon  it  is  clearly  demonstrated  in  the  cor- 
ners and  central  medallion. 

The  brownish  red,  which  has  faded  to  a fawn  in 
the  border,  marks  an  earlier  period  than  that  in 
which  the  same  general  color  was  used  by  Shan- 
tung weavers. 

In  rug  No.  2669  the  later  apricot  shades  are 
shown  in  higher  tones. 

[No.  3653— 2. 4 x2.3\ 


CHINESE  RUG 

ThERE  are  both  Samarcand  and  Tartar  features 
in  this  product  of  northwestern  China,  and  many 
desirable  and  unusual  characteristics  which  give 
charm  and  distinction  to  the  fabric. 

[No.  3745  — 8.5x4.1] 

CHINESE  RUG 


Upoi 


IN  a field  of  soft  red  the  “ Sacred  Mountain” 
rises  at  both  the  top  and  bottom  of  the  field. 
Flower,  fruit,  and  leaf  forms  in  shades  of  blue, 
yellow,  brown,  green,  and  cream  are  freely  used. 
The  “ Sacred  Mountain  ” in  Chinese  design  has 


CHINESE  RUG 
No.  5744]  [9.7  x 5.10 


[.o3] 

been  popularly  considered  and  universally  adopted  Notable 
by  those  who  embroidered  its  outlines  upon  their  Antique 
garments,  and  who  called  one  of  their  divinities  Oriental 
“The  Great  Mountain.”  In  the  old  days  this  ^a9s 
“Great  Mountain”  was  considered  the  God  of  the 
Tartars.  The  mountain  in  Mongolian  ornament  is 
often  pictured  as  having  five  peaks,  sometimes  only 
three.  As  an  emblem  in  the  hand  of  the  “ Pearly 
Emperor”  and  the  Taoist  priests,  it  is  represented 
as  a single  peak,  as  is  also  the  case  when  the 
emblem  is  held  by  Confucius. 

However  significant  this  emblem,  together  with 
the  sceptre  and  fungus,  may  be  to  the  student  of 
symbolism,  they  have  become  in  ornament  known 
and  verified  features. 

[No.  37 U — 9.7  x 5.10] 


CHINESE  MAT 


Still 


another  variant  of  the  grain s-of-rice  design, 
in  which  the  flecks  are  formed  by  the  intersection 
of  circles.  This  is  called  in  Chinese  ornament  the 
“coin  design.”  The  color  scheme  is  most  harmo- 
nious, the  circles  of  cream  color  blending  with  the 
soft  shades  of  apricot  pink,  in  which  the  field  is 
laid.  [No.  3651  —2.6  x 2.5] 

jTVo.  3652 — 2.6  x 2.5] 


The 

T[ffany  CHINESE  MATS 

Studios 
Collection  A 

jL3 lN  interesting  pair  of  nineteenth  century  mats 
woven  with  materials  of  fine  quality  in  mandarin 
designs. 

Upon  a field  of  tan  color,  in  jars,  vases,  and  odd 
shaped  receptacles  woven  in  shades  of  red,  blue, 
yellow,  and  green,  are  grouped  the  various  sorts  of 
dwarfed  flowers  and  plants  forced  as  gifts  for  the 
New  Year. 

Potters,  wicker  and  bronze  workers,  and  de- 
signers for  all  the  applied  arts  have  always  vied  with 
each  other  for  supremacy  in  the  production  of  articles 
suitable  for  the  use  of  their  royal  patrons  for  ex- 
change gifts  at  the  Chinese  New  Year  season. 

[No.  3649  — 4.5  x2.6] 
[No.  3650— 4.5  x 2.6] 

CHINESE  MAT 


The  ground  of  imperial  yellow  is  broken  by  a 
central  floral  medallion,  about  which  flowers  and 
fruits  of  good  omen,  in  shades  of  apricot,  blue,  and 
green,  are  scattered  on  the  field. 

The  geometric  pattern  marking  off  the  corner 
spaces  is  made  significant  by  the  presence  of  the 


Notable 

Antique 

Oriental 

Rugs 


CHINESE  MAT 

Al  VARIANT  of  the  grains-of-rice  design  in  brown 
fleck  and  red  diamond  forms  covers  with  minute 
pattern  a tawny  yellow  field. 

Blue  and  yellow  flowers  and  leaves  conventionally 
drawn  on  a brownish  background  form  a central 
medallion.  [TVo.  3658 — 2.3  x 2.3 ] 


[ i°5  ] 

swastika,  formed  in  the  old  Chinese  manner  by  the 
disposition  of  four  T designs. 

This  Chinese  handling  of  the  Buddhist  emblem 
gives  the  appearance  of  a swastika  in  blue  upon  an 
apricot  colored  background.  [Vo.  3660 — 3.9  x 2] 


CHINESE  MAT 


are 


Delicate  foliations  in  light  blue  and  white 

traced  on  a background  of  a superb  shade  of  dark 
blue,  giving  style  and  distinction,  to  this  product  of 

[No.  3661— 2.5  x 2 A] 


the  looms  of  Peking. 


CHINESE  MAT 


Another  variant  in  shades  of  tan  and  yellow 
of  the  grains-of-rice  design,  in  which  the  back- 


The 

Tiffany 

Studios 

Collection 


[ i°6] 

ground  is  marked  off  indistinctly  into  squares,  with 
diamond  forms  at  the  intersection  of  the  lines. 

In  the  broad  border  the  swastika  fret  is  laid  in 
cream  on  a tan  background,  and  dots  of  lighter 
shade  fill  the  narrow  yellow  stripes. 

[/Vo.  3657— 2.6  x 2 .4] 


CHINESE  SILK  RUG 


Native  materials  and  methods  have  here  been 
used  in  an  attempt  to  copy  designs  that  originated 
far  to  the  west  of  the  Chinese  empire. 

The  effort  to  establish  artists  at  the  imperial 
court,  who  should  direct  native  talent,  made  several 
distinct  epochs  in  the  evolution  of  ornamental  design 
in  China. 

The  characteristics  of  Chinese  styles,  both  native 
and  foreign,  are  clearly  defined,  and  specimens  like 
this  which  illustrate  the  transition  from  one  to  the 
other  are  becoming  increasingly  rare  and  valuable. 

[No.  3643  — 7.6  x 4.7] 


CHINESE  TURKESTAN 

Mongolian  interpretation  of  Thibetan  Bud- 
dhist ornament  is  manifested  in  various  ways  in  this 
weaving  of  the  Kien-lung  period. 


[ io7  ] 

Comparison  with  Nos.  3656  and  3638  will  show 
interesting  similarities  and  differences  in  the  fabrics. 

[No.  3743  — 10.8x6] 

CHINESE  TURKESTAN 

Buddhist  symbolic  ornament  finds  expression 
in  this  fabric.  The  lotus  surrounded  by  four  dorjes 
often  appears  in  Thibetan  design.  Lotus  buds 
extend  from  the  central  rosette  in  such  a way  as 
to  form  a conventional  design  that  has  been  copied 
by  weavers  as  far  west  as  Ispahan. 

The  design  of  profile  flower  and  leaf  in  the 
inner  border  shows  East  Indian  influence,  while  the 
outer  border  is  Chinese.  [No.  3656 — 2.9  x 2.7] 


SILK  RUG  OF  CHINESE  TURKESTAN 

Of  unusual  quality  and  preservation,  this  master- 
piece of  the  looms  of  Turkestan  rivals  any  other 
fabric  that  claims  like  distinction.  The  colors  are 
subdued  in  tone,  producing  a very  rich  and  harmo- 
nious effect.  The  design  shows  traces  of  Thibetan 
Buddhist  ornamentation,  mingled  Avith  Samarcand 
interpretation  of  Persian  styles. 

[No.  3639— 14  x5.6] 


Notable 

Antique 

Oriental 

Rugs 


The 

Tiffany 

Studios 

Collection 


[i°8] 

CHINESE  TURKESTAN  RUG 


I HERE  is  a mingling  of  floral  and  geometric 
forms  in  the  rugs  of  Chinese  Turkestan  and 
Thibet  that  is  not  an  unnatural  result  of  the  loca- 
tion of  the  district,  lying  as  it  does  between  eastern 
and  middle  Asia. 

In  the  distribution  of  border  stripes  there  is  a 
marked  tendency  to  adopt  the  styles  of  Persia, 
while  medallion  forms  are  borrowed  from  China 
and  methods  of  weaving  from  the  north. 

The  Buddhism  of  Thibet  gives  strong  local  color- 
ing and  distinguishing  features,  even  to  borrowed 
designs.  [No.  3638—12.2  x 6.2] 


SAMARCAND  RUG 


.Al  TYPICAL  Samarcand  rug 


in  every  way — weave, 
use  of  ornament,  etc.  The  field  is  of  cream  color 
in  which  tree  designs,  vases  of  pomegranate  twigs, 
and  flat  orchid  forms,  of  mulberry  shades  and  yel- 
low, are  scattered. 

The  corners  are  drawn  with  mechanical  pre- 
cision in  the  same  colors  outlined  with  black.  Of 
the  four  border  stripes,  the  widest  is  more  exclu- 
sively Samarcand  than  any  of  the  others. 

[No.  3118— 6.10x4.7] 


CHINESE  TURKESTAN  RUG 
No.  3638]  [12.2  x 6.2 

Illustration  shoivs  3 length 


I 


SAMARCAND  RUG 

SmALL  rug  in  shades  of  mulberry  color  and  yel- 
low, in  which  unrelated  floral  motifs  are  scattered 
in  the  field.  The  medallion  in  the  centre  of  the 
rug  is  of  somewhat  unusual  nature. 

[/Vo.  3750 — 4.8  x2.6] 


Notable 

Antique 

Oriental 

Rugs 


MONGOLIAN  RUG  — SAMARCAND 
WE  A VE 


The  designs  in  this  rug  are  strictly  Mongolian, 
and  as  such  testify  to  the  fact  that  wherever  the 
fabric  was  woven  the  weaver  was  neither  Moham- 
medan nor  Buddhist,  but  one  who  was  familiar 
with  the  ancient  symbols  of  the  Taoist  faith. 

The  Tao  saints  have  always  been  the  advisers  of 
the  Mongol  rulers,  and  history  relates  that  Genghis 
Khan,  in  the  twelfth  century,  seeking  help  in  the 
government  of  his  vast  empire,  sent  for  an  aged 
philosopher.  Records  of  this  visit  are  still  extant. 
Genghis  Khan  wrote:  “ As  my  calling  is  high,  my 
obligations  are  heavy.  . . . Do  not  be  afraid  of  the 
sandy  desert  ....  Pity  the  people  and  pity  me,  and 
teach  me  the  way  of  preserving  life.’’  To  which 
the  aged  saint  answered  : “ I confess  that  in  worldly 


The 

Tiffany 

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Collection 


[no] 

matters  I am  dull  and  know  not  yet  Tao,  though 
I have  sought  in  all  ways.  The  doctrine  of  Tao 
teaches  us  to  restrain  the  passions,  a difficult  task.” 

Taoism  is  one  of  the  three  great  religions  of  China. 
Taoists  are  superstitious  to  a degree ; they  are  al- 
chemists, study  the  stars  and  the  forces  of  nature, 
direct  their  lives  and  build  their  houses  in  strict  ac- 
cordance with  the  rules  that  have  governed  their  an- 
cestors. This  adherence  to  superstition  has  produced 
through  the  years  a repetition  of  ornament  which 
shows  lack  of  imagination,  and  which  crowds  sur- 
faces with  objects  not  decorative  in  themselves,  which 
serve  as  symbols  of  thought  and  as  such  are  de- 
lighted in  by  the  Chinese. 

Out  of  primitive  divinations  an  elaborate  system 
of  sorcery  for  the  selection  of  lucky  times,  good 
locations,  etc.,  has  been  developed.  Subtle  breaths 
are  supposed  to  proceed  from  the  south  and  the 
north,  bringing  good  and  bad  influences  respectively, 
and  the  aim  is  to  block  the  one  and  open  the  way 
for  the  other. 

Geomantic  mounds  are  raised  for  protection,  and 
paths  are  wound  about  to  keep  off  evil,  or  to  corre- 
spond with  the  shapes  traced  by  constellations  in 
the  sky. 

These  occult  reasonings  are  all  pictured  in  the 
symbolic  art  of  the  Mongolians.  The  design  in  the 
three  medallions  in  this  rug  is  known  as  the  Tae- 
Kieh,  or  Yang  and  Yin,  and  refers  to  the  dual  prin- 


MONGOLIAN  RUG  — SAMARCAND  WEAVE 
No.  3044]  [9.6x4.10 

Illustration  shows  3 length 


[in] 

ciple  in  nature  : light  and  darkness  ; good  and  evil ; 
heat  and  cold ; mind  and  matter ; masculinity  and 
femininity;  heaven  and  earth. 

[No.  3644  — 9.6x4.10] 


Notable 

Antique 

Oriental 

Rugs 


SILK  RUG  OF 

THE  SEVENTEENTH  CENTURY 

Although  it  is  impossible  to  say  with  absolute 

certainty  the  place  of  weaving,  the  Ghinese  leaf  of 
good  omen  has  been  used  in  the  design  which 
covers  the  field  of  this  old  rug  in  formal  fashion, 
showing  a Persian  arrangement  of  a Chinese  motif. 

In  both  eastern  and  western  Turkestan,  in  Yar- 
kand, Kashgar,  Khotan,  Samarcand,  and  Bokhara, 
as  well  as  in  eastern  Persia,  weavers  all  through 
the  centuries  have  handled  foreign  ornament  with 
more  or  less  ingenuity,  stamping  their  own  in- 
dividuality upon  their  adaptations  of  borrowed 
designs. 

Use  has  been  made  of  a Samarcand  leaf  and 
flower  design  in  the  main  border,  while  old  Kurdish 
vine  patterns  are  traced  on  a blue  ground  in  the 
narrow  stripes. 


The 

Tiffany 

Studios 

Collection 


[”a] 

SILK  RUG  OF  CHINESE  TURKESTAN 
“TRIRUTE  RUG” 

Materials,  weave,  design,  and  other  features 

about  this  beautiful  specimen  lead  to  the  belief  that 
it  was  given  as  tribute  to  some  royal  patron  of  the 
arts. 

To  China  as  elder  brother  many  tributary  states, 
countries,  and  provinces  have  looked  for  many 
centuries.  The  best  that  art  and  industry  have 
produced  has  been  sent  as  tribute  to  emperors  and 
their  representatives,  the  high-class  mandarins.  In 
“tribute  rugs”  are  found  tribal  designs  of  great 
beauty  and  significance,  as  well  as  meaningless  but 
decorative  patterns,  showing  various  influences 
from  nearby  localities. 

[No.  3640— 13.8  x 7] 


f 


. 


, 


GETTY  CENTER  LIBRARY 


3 3125  00966  8811 


